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147
independence, the Kazakh movie industry experienced a deep crisis along with the rest of the country and those few films that were made in the early 90s reached a very limited audience despite the international recognition of their artistic value. (Isinaliev, 2003, p. 97) As Kazakhstan’s economy recovered, so did its show business and in 2009 it made a breakthrough with 12 Kazakhstan-made movies being shown across the country. (Shimirbaeva, 2009)
The movies of independent Kazakhstan of the last couple of years also demonstrate that despite the strong Russian and multi-ethnic influences which are still present in Almaty art world (Mauletova, 2010), the Astana’s drive to reassert Kazakh identity is successful as well, prompting the artists to revive the Kazakh language, traditions, music and poems not least because of the government funding to that end. A prime example of that is a 2009 comedy Oipyrmay ili dorogie moi deti (roughly, “Oops or my dear children” in English). It is about how far rural migrants in Almaty go in order to maintain an image of success associated with living in the southern capital. The movie provides a portrait of a migrant rural-to-urban Kazakh family and the way they are changing their values and habits while living in the megalopolis. Such experiences resonate with a great number of rural Kazakhs who have recently moved to Almaty as well as other urban areas in Kazakhstan.195 At the same time, other 2009 movies made in the republic such as Kelin and Kairat – chempion did not meet the approval of the
195 Ironically, while the movie was made in both Kazakh and Russian languages, it was only shown in Russian in theaters. During a test run in the Kazakh language in a Kazakh-dominated region, it did not generate enough interest to pay off the cost of the showings. (Baitukenov, 2010)
Object Description
| Title | Market reforms, foreign direct investment and national identity: Non-national identity of Kazakhstan |
| Author | Zhanalin, Azamat |
| Author email | janalin_a@yahoo.com; zhanalin@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | International Relations |
| School | College of Letters, Arts and Sciences |
| Date defended/completed | 2011-03-22 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-04-29 |
| Advisor (committee chair) | English, Robert |
| Advisor (committee member) |
James, Patrick Rorlich, Azade-Ayse |
| Abstract | The present study offers an analysis of the concept of non-national identity in application to the Republic of Kazakhstan as the most likely case. The primary hypothesis is that newly independent states, which are undergoing a rapid transition to market economy and actively pursue integration in the world economy and foreign direct investment, will experience fragmentation of their national identity, defined as non-national identity.; Three sites in Kazakhstan, Almaty, Astana and Aktau, were chosen for the study as representative of the market reforms in the republic as well as the best examples of the country’s pursuit of foreign direct investment and integration into the global economy. The data collected indicates that while Kazakhstan does demonstrate fragmentation of its national identity, it is not necessarily caused by the market reforms and the participation in the global trade. Alternative causal variables such as the Soviet and Russian colonial legacy, intra-ethnic cleavages among the Kazakhs and the prevalence of multi-vector foreign policy were found to contribute to the development of non-national identity of Kazakhstan. The study’s results also suggest that in the last few years, Kazakh identity is experiencing a rather strong revival as well, which may yet counteract the existing factors leading to the emergence of the non-national identity of Kazakhstan. |
| Keyword | identity; nationalism; Kazakhstan; market reforms; globalization; foreign direct investment; national identity; countries in transition; foreign policy; culture; former Soviet Union; Central Asia; patronage networks; energy; oil; post-colonial legacy; nation-state |
| Geographic subject (city or populated place) | Almaty; Astana; Aktau |
| Geographic subject (country) | Kazakhstan |
| Coverage date | 1970/2010 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3812 |
| Contributing entity | University of Southern California |
| Rights | Zhanalin, Azamat |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Zhanalin-4506 |
| Archival file | uscthesesreloadpub_Volume51/etd-Zhanalin-4506.pdf |
Description
| Title | Page 153 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 147 independence, the Kazakh movie industry experienced a deep crisis along with the rest of the country and those few films that were made in the early 90s reached a very limited audience despite the international recognition of their artistic value. (Isinaliev, 2003, p. 97) As Kazakhstan’s economy recovered, so did its show business and in 2009 it made a breakthrough with 12 Kazakhstan-made movies being shown across the country. (Shimirbaeva, 2009) The movies of independent Kazakhstan of the last couple of years also demonstrate that despite the strong Russian and multi-ethnic influences which are still present in Almaty art world (Mauletova, 2010), the Astana’s drive to reassert Kazakh identity is successful as well, prompting the artists to revive the Kazakh language, traditions, music and poems not least because of the government funding to that end. A prime example of that is a 2009 comedy Oipyrmay ili dorogie moi deti (roughly, “Oops or my dear children” in English). It is about how far rural migrants in Almaty go in order to maintain an image of success associated with living in the southern capital. The movie provides a portrait of a migrant rural-to-urban Kazakh family and the way they are changing their values and habits while living in the megalopolis. Such experiences resonate with a great number of rural Kazakhs who have recently moved to Almaty as well as other urban areas in Kazakhstan.195 At the same time, other 2009 movies made in the republic such as Kelin and Kairat – chempion did not meet the approval of the 195 Ironically, while the movie was made in both Kazakh and Russian languages, it was only shown in Russian in theaters. During a test run in the Kazakh language in a Kazakh-dominated region, it did not generate enough interest to pay off the cost of the showings. (Baitukenov, 2010) |
