Cinema and nationalism are two fundamentally modern phenomena, but how have films shaped our understanding of the creation -the 'imagining' - of Central-Asian nations? Here, Rico Isaacs uses cinema as an analytical lens to explore how the Kazakh national identity has been constructed and contested. Drawing on an analysis of Kazakh films from the last century, and featuring new interviews with directors and critics involved in the Central Asian film industry, his book traces the construction of nationalism within Kazakh cinema from the country's inception as a Soviet Republic to a modern independent nation.Isaacs identifies four narratives since the collapse of the Soviet Union: a warrior-like 'ethnic' narrative rooted in the 18th Century struggles against the Mongolian Oirat tribes; a 'civic' inspired narrative cemented in the Stalinist deportations of the 1930s and 40s; a religious narrative founded within the mystic and philosophical religion of Tengrism and the cult of the Sky God; and a socio-economic narrative which roots Kazakh nationhood and identity in contemporary social divisions, the lived day-to-day experiences of ordinary citizens and the struggles they face with authority. These last two tropes demonstrate how cinema has emerged as a site of dissent against the country's authoritarian regime under President Nazarbayev. Film and Identity in Kazakhstan advances our understanding of Kazakhstan and nationalism by demonstrating the multiple and inessential character of each, and illustrates the important role of cinema in contesting political power in the post-Soviet space.

Cinema and nationalism are two fundamentally modern phenomena, but how have films shaped our understanding of the creation -the 'imagining' - of Central-Asian nations? Here, Rico Isaacs uses cinema as an analytical lens to explore how the Kazakh national identity has been constructed and contested. Drawing on an analysis of Kazakh films from the last century, and featuring new interviews with directors and critics involved in the Central Asian film industry, his book traces the construction of nationalism within Kazakh cinema from the country's inception as a Soviet Republic to a modern independent nation.Isaacs identifies four narratives since the collapse of the Soviet Union: a warrior-like 'ethnic' narrative rooted in the 18th Century struggles against the Mongolian Oirat tribes; a 'civic' inspired narrative cemented in the Stalinist deportations of the 1930s and 40s; a religious narrative founded within the mystic and philosophical religion of Tengrism and the cult of the Sky God; and a socio-economic narrative which roots Kazakh nationhood and identity in contemporary social divisions, the lived day-to-day experiences of ordinary citizens and the struggles they face with authority. These last two tropes demonstrate how cinema has emerged as a site of dissent against the country's authoritarian regime under President Nazarbayev. Film and Identity in Kazakhstan advances our understanding of Kazakhstan and nationalism by demonstrating the multiple and inessential character of each, and illustrates the important role of cinema in contesting political power in the post-Soviet space.

This monograph traces the history of Kazakh filmmaking from its conception as a Soviet cultural construction project to its peak as fully-fledged national cinema to its eventual re-imagining as an art-house phenomenon. The author’s analysis places leading directors—Shaken Aimanov, Abdulla Karsakbaev, Sultan-Akhmet Khodzhikov, Mazhit Begalin—in their sociopolitical and cultural context.

Internet and Gender in Kazakhstan offers an empirically rich and theoretically compelling analysis of how the Internet is influencing societal attitudes towards women’s roles and agency in Kazakhstan. Equipped with intimate perspectives from the wider public in five different regions of Kazakhstan, the book conceptualises, theorises, and analyses the relationship between the Internet and gender-related attitudes in Kazakhstan through a decolonial feminist lens. The author argues that digital communication technologies’ effect on societal attitudes towards gender roles and norms in Kazakhstan is conditional on Internet and social media penetration rates, state-led digital censorship, and the ways in which local activists and conservative bloggers use their online presence. The book will be of interest to policy makers and researchers in the field of media studies, gender studies – in particular women’s rights, LGBTQ+, feminist activism, and gender-based violence – and Central Asian studies.

This book brings together historical and ethnographic research from Kyrgyzstan, Kazakhstan, and Xinjiang, in order to explore how individuals and communities work to create and maintain forms of ‘culture’ in contexts of ideological repression and erasure. Across Inner Central Asia, in both China and the Soviet Union, while ethnic culture was on one hand lauded and promoted, it was simultaneously folklorized in the face of broader projects of socialist modernity. How do local intellectuals, cultural organizers, and performers work to negotiate their own forms and understandings of cultural meaning within the institutions and frameworks of a long twentieth century? How does scholarly attention to cultural production, tradition, and performance help to inform our understanding of (ethnic) nations not as given, but as coming into being?

This social and cultural analysis provides a new understanding of Kazakhstan’s younger generations that emerged during the rule of Nursultan Nazarbayev, who has been presiding over Kazakhstan for the thirty years since the collapse of the Soviet Union. Half of Kazakhstan’s population was born after he took power and have no direct memory of the Soviet regime. Since the early 2000s, they have lived in a world of political stability and relative material affluence, and have developed a strong consumerist culture. Even with growing government restrictions on media, religion, and formal public expression, they have been raised in a comparatively free country. This book offers the first collective study of the “Nazarbayev Generation,” illuminating the diversity of the country’s younger generations and the transformations of social and cultural norms that have taken place over the course of three decades. The contributors to this collection move away from state-centric, top-down perspectives in favor of grassroots realities and bottom-up dynamics in order to better integrate sociological data.