The Evolution of Female Characters in Central Asian Cinema: From Femininity to Resistance

Citation: Aiperi Usmanova, "The Evolution of Female Characters in Central Asian Cinema: From Femininity to Resistance", Universal Library of Arts and Humanities, Volume 02, Issue 02.

Copyright: This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Abstract

This article explores the transformation of female representations in Central Asian cinema against the backdrop of post-Soviet sociocultural shifts. Drawing on a qualitative content analysis of both Soviet-era and contemporary films, feminist theoretical frameworks, and empirical data on the status of women in society, the study traces key stages in the evolution of gender portrayal. The analysis identifies a trajectory that moves from the traditional image of the kelin—a daughter-in-law figure emblematic of patriarchal norms—towards models of female agency and resistance that reflect broader processes of individualization and the diversification of women’s social roles. Special attention is given to the contributions of women directors, who have played a pivotal role in reshaping gender narratives and developing visual strategies aimed at dismantling conventional ideals of femininity. The study also considers how grassroots activism, economic change, and transnational influences have shaped cinematic representations and audience perceptions of women. The article argues that contemporary Central Asian cinema is increasingly becoming a site of critical discourse, identity negotiation, and public dialogue. It suggests that the shift from traditional to agentive portrayals marks not only a redefinition of gender roles on screen but also signals a more layered and nuanced interpretation of women’s lived experiences in a rapidly changing world. This work will be of interest to gender scholars, film critics, sociologists, and those studying cultural transitions in post-Soviet Central Asia.

Keywords: Central Asian Cinema, Female Representation, Gender Stereotypes, Kelin, Female Agency, Post-Soviet Period, Social Transformation, Feminist Critique, Women Directors, Visual Practices.

https://doi.org/10.70315/uloap.ulahu.2025.0202001