Abstract
Purpose of the study: The purpose of the present article is to study, generalize and determine the main tendencies in the spatial organization of the urban cinema environment of Kazakhstani cities within post-Soviet cinematographic materials in the context of searching for an identity notion and a general “urban myth” concept. Methodology: The objects of the study include films of post-restructuring cinema production and the image of a big city depicted in them, different from the stereotype prevailing in Soviet cinema, which was analyzed in the paradigm of creating a cinema environment in Kazakhstani films during the period of independence. For the careful examination of cinematographic artistic means, the study used hermeneutical, functional and comparative methods. Main findings: The results showed that the article dealt with the environment-forming and image-forming role of cinema in architecture, as well as with the interaction factors of arts in artistic culture and the spatial organization of the urban environment. The development trends of cinema were considered as potential new vectors of the compositional components of the environment. Applications of this study: The study may be used for presenting a careful review of the current state of the problem of the spatial organization of the urban cinema environment as a search for identity in Kazakhstani post-Soviet cinematography, as well as for further investigations in similar directions. The article might be useful for students of art faculties of colleges and universities, specialists in cinematography and all those interested in the study area. Novelty/Originality of this study: The study of the urban cinema environment was firstly conducted using the paradigm of the identity search. Multiple methods were used in order to present a deep and thorough analysis of the spatial organization of the city environment in Kazakhstani post-Soviet films. The problem of urban environment creation has been analyzed using the mentioned criteria in synchronic and diachronic dimensions for the first time.