ASTANA – Zhanerke Rakhman, a senior analyst at the Center for Regional Studies and Quality of Life, emphasized the dual role of Kazakhstan’s cinematic sector in advancing both cultural expression and economic development. She pointed out that filmmaking is more than an artistic pursuit—it can stimulate investment, generate employment, and energize ancillary industries such as tourism and digital media.
Rakhman explained that the national film landscape began evolving significantly after the Soviet era, when creative experimentation took root. In recent years, authorities have increasingly recognized cinema as a strategic asset for shaping national identity and fostering economic expansion. Government initiatives now include financial backing for productions, tax reliefs for studios, workforce training, and subsidies aimed at attracting private capital.
Beyond direct job creation, the industry contributes to international visibility through film exports and boosts visitor numbers by showcasing scenic locations on screen. Globally, creative sectors play a major role in economic output. In the UK, for instance, these industries employ over 2.1 million individuals and add approximately £116 billion (US$153 billion) to the national economy. When indirect impacts are factored in, their total value reaches £178 billion (US$235 billion) in gross value added.
South Korea’s creative ecosystem—fueled by movies, music, television series, and gaming—supports around 680,000 jobs, brings in $115 billion in income, and earns $10.3 billion from overseas sales. Meanwhile, in the United States, the creative economy represented 4.4% of GDP in 2021, amounting to roughly $1 trillion. Nearly 4.9 million people are employed in arts and culture, with streaming platforms and digital publishing generating $171.3 billion in revenue—the largest share of the market. Film production alone contributed $68.9 billion.
Worldwide, exports of creative goods reached $524 million in 2020, while services totaled $1.1 trillion.
Kazakhstan has set ambitious targets to grow its own creative domain. According to its 2021–2025 development strategy, goals include lifting the sector’s contribution to GDP from 3.14% to 5%, increasing employment share to 4%, and expanding the number of small and medium enterprises by 50%.
Public support for creative fields is common internationally. The UK established a £250 million (US$330 million) Cultural Investment Fund for museums and performance spaces, a £1.6 billion (US$2.1 billion) Culture Recovery Fund offering grants and low-interest financing, a £17.5 million (US$23 million) Create initiative to assist non-London-based ventures, and the Creative Clusters program to foster academic-industry collaboration.
In Britain’s film sector, tax credits generate about £100 million (US$131 million) annually. In 2022, production spending hit a record $6.27 billion, contributing £4.5 billion (US$5.9 billion) to GDP and £1.2 billion (US$1.5 billion) in tax receipts.
As of 2024, Kazakhstan had 121 officially registered film organizations—100 of them privately owned, indicating strong private-sector involvement. Twenty-nine are operated by individual entrepreneurs, and only four involve foreign ownership. Almaty leads with 20 film entities, including one state-run and two with foreign investment. Astana hosts ten, all domestically owned and private. The Zhambyl Region has the highest count of government-operated firms (nine), followed by the West Kazakhstan Region (five out of 11), suggesting regional disparities in reliance on public funding.
Box office earnings rose from 26.9 billion tenge (US$51 million) in 2023 to 43.9 billion tenge (US$83 million) in 2024. Foreign films earned approximately 24.2 billion tenge (US$46 million), while local productions brought in 17.5 billion tenge (US$33 million). Almaty accounted for the bulk of feature film revenue—15.8 billion tenge (US$30 million). Co-productions and international projects added 974 million tenge (US$1.8 million), while state-affiliated companies generated just 150 million tenge (US$286,000), highlighting the dominance of private enterprise.
Despite progress, obstacles remain: inadequate infrastructure, limited private financing, overreliance on public funds, narrow genre offerings, weak domestic and global marketing, a shortage of trained personnel, and insufficient intellectual property safeguards.
Rakhman concluded that Kazakhstan’s cinematic field holds substantial promise. With a rich cultural heritage and growing institutional backing, the country could become a regional leader in Central Asia. Achieving this, however, will depend on improved production facilities, increased private-sector engagement, stronger copyright enforcement, and a more diverse range of storytelling formats.
— news from The Astana Times
— News Original —
Kazakh Cinema Emerges as Key Driver of Creative Economy
ASTANA – Zhanerke Rakhman, a senior expert at the Center for Regional Studies and Quality of Life, highlighted the economic and cultural potential of Kazakhstan’s film industry. She described cinema not only as an art form but also as a valuable economic asset capable of attracting investment, creating jobs, and driving related industries. n nAccording to Rakhman, Kazakhstan’s film industry began to develop rapidly in the post-Soviet period, when new ideas and artistic forms emerged. In recent years, the government has viewed cinema as both a tool for cultural identity and a driver of economic growth. Key state measures include funding for film projects, tax incentives for producers, professional training programs, and investment subsidies. n nBeyond job creation, the film industry promotes tourism, while film exports boost national income and foster cultural exchange. n nAccording to Rakhman, globally, cinema and the broader creative economy contribute significantly to national GDPs. In the United Kingdom, creative industries employ more than 2.1 million people and contribute around £116 billion (US$153 billion) to the GDP. Including related effects, their total contribution reaches £178 billion (US$235 billion) in gross value added. n nIn South Korea, the creative economy, driven by film, video games, dramas, and music, supports about 680,000 jobs, generates $115 billion in revenue, and earns $10.3 billion from exports. n nIn the United States, the creative economy accounted for 4.4% of GDP in 2021, or roughly $1 trillion. Around 4.9 million people work in arts and culture, slightly fewer than before the pandemic. Streaming services and online publications brought in $171.3 billion in revenue, making them the industry’s largest segment. Film production alone generated $68.9 billion. n nIn 2020, global exports of creative goods totaled $524 million, while creative services reached $1.1 trillion. n nKazakhstan also aims to expand its creative sector. According to the concept for the development of creative industries for 2021-2025, national goals include raising the creative economy’s share of GDP to 5% from 3.14% in 2021, increasing employment in the sector to 4%, and growing the number of small and medium-sized businesses by 1.5 times. n nState support for creative industries is widespread worldwide. In the U.K., they included a £250 million (US$330 million) Cultural Investment Fund for museums and cultural venues; a £1.6 billion (US$2.1 billion) Culture Recovery Fund offering grants and low-interest loans; a £17.5 million (US$23 million) Create program to support creative businesses outside London; and the Creative Clusters initiative aimed at strengthening partnerships between universities and the arts industry. n nIn the British film industry, a key support measure is the tax credit, which generates around £100 million (US$131 million) in annual revenue. In 2022, spending on film and television production reached a record $6.27 billion. The industry contributes £4.5 billion (US$5.9 billion) to GDP and £1.2 billion (US$1.5 billion) in annual tax revenue. n nIn Kazakhstan, as of 2024, there were 121 registered film organizations, of which 100 were private, showing the dominance of the private sector. Twenty-nine organizations are run by individual entrepreneurs, while only four companies have foreign ownership. n nAlmaty leads with 20 film organizations, including one state-owned and two with foreign capital. Astana has ten, all private and domestic. The Zhambyl Region has the highest number of state-owned entities (nine), followed by the West Kazakhstan Region (five of 11 total), reflecting reliance on public support in some areas. n nBox office revenue grew from 26.9 billion tenge (US$51 million) in 2023 to 43.9 billion tenge (US$83 million) in 2024. Foreign films accounted for around 24.2 billion tenge (US$46 million), while domestic productions earned 17.5 billion tenge (US$33 million). n nMost feature film revenue came from Almaty, totaling 15.8 billion tenge (US$30 million). Co-productions and foreign projects generated an additional 974 million tenge (US$1.8 million). Revenue from state-owned film entities totaled just 150 million tenge (US$286,000), underscoring the private sector’s leading role. n nHowever, the industry still faces challenges such as insufficient infrastructure, low private investment, dependence on state funding, limited diversity in film genres, weak marketing at home and abroad, a shortage of skilled professionals, and inadequate copyright protection. n nRakhman noted that Kazakhstan’s film industry holds significant growth potential. With its strong cultural base and increasing government support, the country could strengthen its influence across Central Asia and beyond. A true breakthrough, however, will require better infrastructure, greater private investment, stronger intellectual property protection, and a broader range of film content.