Authors

Discussion

This presentation examines the relationship between children's representation and national identity in Central Asian films of the 1960s. While Soviet-era Central Asian cinema has recently gained scholarly attention, discussions of film genres remain insufficient. In particular, what Zorkaya. N., film scholar, terms "films with child protagonists" was a frequent theme in 1960s Central Asia, as well as in other republics, yet there has been limited research examining these works collectively. Central Asian cinema experienced its 'Thaw' period slightly later than Russia did. This period of the 1960s created a complex space where national identity could be negotiated within the framework of Soviet ideology, albeit with continuing limitations. In other words, Through creative interpretation of Soviet ideology, Central Asian filmmakers managed to incorporate elements of national culture into their films while maintaining acceptable relations with both Moscow and local political authorities. For instance, previously negatively portrayed national culture began to be depicted "neutrally" (though not positively), with new forms of expression being explored.

      During the Thaw, films featuring child protagonists appeared across the republics. As Zorkaya notes, children were significant not merely as characters but as bearers of new perspectives. The 1960s saw harsh realities and contemporary ethics reflected through children's eyes in film. This approach also effectively circumvented censorship, as certain expressions were permitted when shown through children that would not have been allowed through adult characters. Children's films were not simply meant to entertain young audiences but served as a method of expressing national identity.

      This presentation analyzes three films with child protagonists: "My Name is Kozha," "Tashkent is a City of Bread," and "Cosmonaut Street." Each film contains significant themes: "Kozha" expresses a pure national world, "Tashkent" revisits the Uzbek revolutionary period, and "Cosmonaut" addresses contemporary space exploration. While these themes symbolize the 1960s, they are all portrayed through child protagonists who carry both the narrative and national identity.

      While these three films are "children's films," they also target adult audiences. In contrast, Soviet Central Asian animation in 1960s was more "childlike," emphasizing a broader audience including children. By comparing these with animation, this study aims to clarify the role of "children's films" and discusses identity and ideology as envisioned by 1960s filmmakers.

      By examining Soviet cinema through the lens of Central Asian film production, this research provides fresh perspectives on how regional film cultures developed their distinct voices while operating within the broader Soviet cultural framework.