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Abstract
The article examines the relationship between architecture and cinema as two different but complementary art forms that create spatial forms—real and virtual. An analysis of buildings and films from 1960 to 2024 was conducted using Kazakhstani objects as examples. The study was carried out taking into account social and cultural changes in the country, as well as the transformation of artistic solutions and visualization tools, in order to identify common points of contact. Significant architectural objects of Kazakhstan—‘Palace of the Republic’ (‘Lenin's Palace’) (1970), Palace of Independence (2006), hotel ‘Kazakhstan’ (1977), and monument ‘Baiterek’ (2002)—were considered. Stylistic features, semantic components, and cultural significance in the context of the historical development of the country, along with spatial solutions, formed the basis of the analysis for both architectural objects and films. In parallel with the architectural objects, the development of Kazakhstani cinema was examined, from the first author's films, ‘Alpamys Goes to School’ (1978) to ‘Anel’ (2024). The visualization tools of Kazakhstani directors have undergone a long evolutionary path: the frame space has increased, and the aerial perspective has improved, allowing for the creation of deeper and more three-dimensional images. Color and light became important elements of the narrative, carrying meaning and increasing the emotional impact on the viewer. These changes have positively influenced the creation of more expressive and rich images in both architecture and cinema. The article addresses the tools of visualization and their evolution within the framework of in-frame composition and artificially created reality. The role of the architectural environment in the cinematographic one is analyzed, as the unique cultural environment of Kazakhstan is being formed, which is reflected in the works of Kazakhstani filmmakers.