Exploring the dynamics between non-state cinema, audiences, and the future of the industry: contemporary Kazakhstani independent arthouse cinema from the perspectives of the filmmakers

Abstract

Recently, the Kazakhstani film industry as a whole has been experiencing many significant changes. Rising numbers of independent and arthouse filmmakers are financed by the government with fewer restrictions and now the government supports greater competition amongst film companies and individuals. Yet, there continues to exist a complex inter-relationship between auteur filmmakers, the commercial film and state establishments of Kazakhstan, and the domestic viewing audience. This research sought to gain insight into two categories: 1) Where is the Kazakhstani film industry (particularly arthouse and independent) today? 2) What is the current relationship between the different sub-categories and with the Kazakh audiences, from the viewpoints of filmmakers and industry professionals (and how has it changed)? To seek an explanation for the change in the aforementioned inter-relationship, this cultural studies-based inductive study seeks to contextualize the role of: the international film festival, the auteur Kazakhstani filmmakers who mostly lack an established domestic audience and habitually compete in these festivals, and the Kazakh government that does not censor or artistically suppress them and in fact occasionally finances them. Applying Bourdieu’s theory of Cultural Capital to the film festival, the research sought to explain the desire of the filmmaker to gain recognition there in the absence of local popularity. Additionally, from Bourdieu’s theory, the research sought to examine the role of the film festival (and participation therein) as a venue for nation branding on part of regime and filmmaker. And lastly, examining nation branding via the film festival as a potential tool for political legitimacy for the government of Kazakhstan. The exploratory, descriptive research consisted of qualitative, semi-structured interviews with 12 Kazakhstani filmmakers and film industry professionals. Participants were selected via the snowballing method stemming from contacts suggested by the researcher’s supervisor. The results illustrate that audiences are becoming more interested in Kazakh arthouse, but this may be a result of the growing international accolades these films are receiving. Additionally, there remain sentiments that the Kazakhstan government, though making themselves available to these auteur and independent filmmakers, are still not doing enough to assist – especially financial support. This research provides both updated survey of the Kazakhstani film industry, and new developments upon which future scholarship can examine. Despite the promising changes in landscape, the filmmakers still see problems in changing the attitudes of the Kazakhstani audiences, and reinforcing their escalating relationship with the Kazakh state regarding financing.