Волчонок среди людей (1988)
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Волчонок среди людей影片简介
Lucas - International Festival of Films for Children and Young People 1989 Won Lucas Cup
A children's film directed by Talgat Temenov that chronicles the friendship between two outcasts, a boy and a wolf cub. "Wolf ...展开Cub Among People" from Kazakhstan made us aware that Central Asia, which is often less familiar to the Japanese, was unmistakably a part of Asia. This film conveyed an air of diversity of Asia.
It naturally followed that the aesthetics of the young Kazakh "New Wave Cinema" dominated feature films in Kazakhstan during the 1990s. This aesthetics, in one degree or another, openly proclaimed its active rejection of the artistic traditions of Soviet cinema, of the myths and ideals of socialist society. The philosophy of the Kazakh "New Wave" received its clearest and most convincing representation in Aprymov’s and Omirbaev’s films, as well as in certain films by Karakulov (The Last Vacation). Films made by other representatives of the Kazakh "New Wave"—for example, Ardak Amirkulov’s The Fall of Otrar (1991) or Abai (1995); Talgat Temenov’s A Wolf Cub Among People (1989), Love Station (1993), or Moving Target (1991); Abai Karpykov’s A Fish in Love (1989) or Fara (1999)—are not in essence compatible with the aesthetic system and the ideology of auteur cinema that is so characteristic of Aprymov’s and Omirbaev’s films.
A children's film directed by Talgat Temenov that chronicles the friendship between two outcasts, a boy and a wolf cub. "Wolf ...展开Cub Among People" from Kazakhstan made us aware that Central Asia, which is often less familiar to the Japanese, was unmistakably a part of Asia. This film conveyed an air of diversity of Asia.
It naturally followed that the aesthetics of the young Kazakh "New Wave Cinema" dominated feature films in Kazakhstan during the 1990s. This aesthetics, in one degree or another, openly proclaimed its active rejection of the artistic traditions of Soviet cinema, of the myths and ideals of socialist society. The philosophy of the Kazakh "New Wave" received its clearest and most convincing representation in Aprymov’s and Omirbaev’s films, as well as in certain films by Karakulov (The Last Vacation). Films made by other representatives of the Kazakh "New Wave"—for example, Ardak Amirkulov’s The Fall of Otrar (1991) or Abai (1995); Talgat Temenov’s A Wolf Cub Among People (1989), Love Station (1993), or Moving Target (1991); Abai Karpykov’s A Fish in Love (1989) or Fara (1999)—are not in essence compatible with the aesthetic system and the ideology of auteur cinema that is so characteristic of Aprymov’s and Omirbaev’s films.
