The Cinema of Mongolia has been strongly influenced by the Cinema of Russia, which differentiates it from cinematic developments in the rest of Asia.
History
It is assumed that the first cinematographic performances in Mongolia happened between 1903 and 1913, as private events for the prince Sain Noyon Khan Shirindambyn Namnansuren and the Jebtsundamba in the capital Urga
After the socialist revoultion, the Mongolian People's Revolutionary Party decided in its 5th congress of 1925 to use movies as an instrument of mass education. From 1926 on, mobile projection facilities would regularly show soviet films to the Mongolian people. The first permanent cinema "Ard" (ард, people) opened in the capital (now named Ulan Bator) in 1934. Eventually, every aimag center would have fixed cinemas, and every sums of Mongolia or negdel would have a mobile cinema. In the 1990s, many cinemas, fixed and mobile alike, closed down or reduced activities.
Mongol Kino
The national film studios Mongol Kino were founded in 1935, with soviet technical assistance. Their first productions were a documentary on the "47th anniversary of the 1st may" and a fictional story named Son of Mongolia (Mongol Khüü) directed by the Russian Ilya Trauberg. The first Mongolian directed movie was the black-and-white short feature Norjmaa's Destiny (Norjmaagiin Zam) by Temet Natsagdorj in 1938.
From then on, the Mongolian movie production focused around heroic revolutionary propaganda and ancient popular legends, still often under Russian direction. This program was very successful with movies like Sükhbaatar (1942) and Tsogt Taij (1945). The studios of Mongol Kino also produced documentaries and current news reports.
1950s and 1960s
After WW II, the party moved the focus on working class heroes, reflected in movies like New Year (Shine Jil, 1954) by Tseveeny Zandraa. The following year the first musical comedy appeared, which started a trend that continued into the 1960s. Examples of this genre are Awakening (Serelt, 1961) by S. Genden and The Rejected Girl (Gologdson khuukhen) by Dendevyn Chimid-Osor. The first colour movie was The Golden Yurt ("Altan Örgöö", 1969), based on a folk tale. It was produced in cooperation with the East German DEFA studios. The music of the film, written by L. Mördorj, was played and recorded by the GDR Radio orchestra and became a classic of the Mongolian symphony. As a fairy tale film, it is rich with match moving and other special effects of cinematography.
1970s and 1980s
While the production of documentaries increased, the fictional stories turned to everyday life in the 1970ies. The Clear Tamir (Tungalag Tamir, 1970) by Ravjagiin Dorjpalam based on a novel by Chadraabalyn Lodoidamba included some of the greatest Mongolian stars of the time. The first colour and wide screen film was "The Legend of the Mother Oasis" ("Ehe Bürdiin domog") was made in 1976. The Fighter (Garid Magnai, 1983) by Jamyangiin Buntar marks a turning point, where the authors liberate themselves from the existing power structures.
In 1979, Nagnaidorj created the first Mongolian color filmcitation needed with The Five Colors of the Rainbow (Solongiin tavan öngö).
1990s and 2000s
After the introduction of market economy, most mobile and permanent cinemas closed down. Mongolian productions had to seek partners outside of the former COMECON. The movie Genghis Khan was the first Mongolian-Japanese co-production. State of Dogs (нохой орон, Nokhoi Oron, 1998) was written and directed collaboratively by the Belgian Peter Brosens and the Mongolian Dorjkhandyn Turmunkh.
The director Byambasuren Davaa has had international success with the German-Mongolian co-productions The Story of the Weeping Camel (2003, nominated for an Academy Award as foreign documentary in 2005) and The Cave of the Yellow Dog (2005).
Elsnii Nuudel (Mongolian: Элсний нүүдэл, movement of sand) was a successful movie produced for the domestic market in 2007.
See also
External links
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