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DANCE AND THE CAMERA: COMPOSITIONAL FEATURES OF CHOREOGRAPHIC STAGING IN THE MUSICAL FILM IN THE EMBRACE OF HAPPINESS
(2026-09-30)
A. D. Shorabek
;
Samal A. Bakirova
In contemporary cinema, dance has become an important component of cinematic language, expanding the artistic possibilities of screen space. Accordingly, the study of the compositional structure of dance scenes, the interaction between choreography and camera work, and the artistic function of editing has become an important research issue. The aim of this study is to analyze choreographic compositions within screen space based on S. Shapashov's musical film Baqyt Qūshağynda (In the Embrace of Happiness) and to identify the features that distinguish them from stage dance performances. The study employed a compositional and artistic analysis of the film's dance scenes together with a semi-structured interview with the film's director-choreographer. The interview was conducted online, after which the collected data were transcribed and analyzed using thematic analysis. The findings revealed the artistic concept of the film's choreographic productions, the specific features of adapting dance scenes to the screen, and the role of camera work and editing in shaping choreographic composition. The analysis also demonstrated that the songs of Shamshi Kaldayakov function not merely as musical accompaniment but as the foundation of a new artistic form created through dance movement and cinematic visual expression. The scientific novelty of the study lies in providing the first comprehensive scholarly analysis of the screen choreography of the musical film Baqyt Qūshağynda, identifying the distinctive features of adapting dance composition to screen space and revealing the role of cinematographic techniques in shaping its artistic structure

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