Санъат ва маданият Ахборотномаси № 4 (2025) · Саҳифаҳои 101-104
KINO TASVIRIDA TEXNOLOGIK, ESTETIK VA MUALLIFLIK UYG‘UNLIGI (o‘zbek-hind hamkorlik filmlari misolida)
Alijonov, Xusan, Alijonov, Xusan, Alijonov, Xusan, Alijonov, Xusan
Аннотатсия
This article provides a theoretical analysis of the technological, aesthetic, and authorial unity within cinematic imagery, based on films produced through Uzbek–Indian collaboration. The study interprets the work of the cinematographer not merely as a technical function but as a process of creating meaning and emotional semantics through visual thinking. Compositional design, light plasticity, color rhythm, camera angles, and cultural-aesthetic integration are examined within the framework of cinematographic authorship. The synthesis of the restrained dramaturgy of Uzbek cinema and the dynamic visual poetics of Indian film is analyzed as a theoretical foundation for the formation of a new stage of cinematic language.
visual thinkingcinematographer,technological aestheticsauthorship phenomenontransnational cinemaUzbek cinematographyIndian cinematographyvisual dramaturgycamera anglecolor rhythm,
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