Abstract: The subject of this research is the historical-typological peculiarities of reflection in the Soviet cinematography of 1930s – mid 1980s of internal migrations, primarily from the rural areas, as well as determination in the historical dynamics of their value motivations, factors, means, and gender peculiarities. The object this research is the Soviet everyday life as a holistic lifeworld since the early 1930s to the early 1980s, which includes the three eras of spiritual life of the Soviet society: totalitarianism, “thaw”, and the “70s”. The subject of research is viewed in correlation of the ideological and everyday levels of life in their historical dynamics. The article employs the historical typology of culture, content analysis, comparative and hermeneutic methods. The theoretical substantiation of this study consists in the conceptual positions on the artistic methods of the cognition of culture. The conclusion is made that the images of migration in cinematography of the totalitarian period by factors, motives and means are inaccurate. However, from the perspective of systemic-holistic approach, the “typical” artistic images, which inaccurately reflected the internal migrations, expressed the profound essence of Soviet culture of the totalitarian period: concealment of truth and romanticization of reality. In the more realistic depictions of the cinematography of “thaw” period was reflected the “truth of life” and aesthetization of reality, naturalistic style, and social optimism. The formal and “enlightening” depictions of the “70s” translated the in-depth essence of this period: escalation of all-round crisis. Cinematographic works that in one or another way touched upon the theme of internal migrations, namely in the 1950s and 1980s, reflected the binary nature of the Russian-Soviet culture and mentality.

Abstract: The object of the research is Soviet art movies produced in 1918 - 1991 (including those that were co-produced with foreign cinematographers) about the Russian Revolution of 1917 which is dated sometime from February 1917 till March 1921 based on modern historiographical data. The subject of the research is production and perception of such films in terms of crosscultural communication, globalisation and socio-cultural particularities of the periods in Soviet history and Soviet cinematograph. The method of historical typologization, qualitative and comparative methods as well as periodization of the history of Soviet cinematograph developed by VGIK is used by the authors in this article. Soviet entertainment movies about the Russian Revolution of 1917, dynamics of these films production and perception is studied for the first time in the academic literature. The authors discover a general number of films, films that were co-produced with foreign cinematographers, films that received international awards, 'hot ticket' movies and most popular films. The results of the research can be used during lectures on cultural studies, art history and history. 

Abstract: The subject of the research is the images of motherhood and fatherhood in the Soviet society and culture of the 1960s - 1980s between traditions and innovations, ideology and everyday life. The images of motherhood and fatherhood are being viewed from the point of view of collisions between the traditional and industrial (socialist) societies, between the socialist ideology and everyday life as they are presented in the images of the Soviet popular art and memories about those times. By analyzing iconic pieces of the popular Soviet art of the 1960s - 1980s and completing her analysis with published remembrances and her own memories, the author of the article attempts to trace back the dynamics of these sociocultural phenomena. In her research Sidorova uses the systems method, historical classification method, semiotic method and comparative historical method. According to the author, analysis of motherhood and fatherhood through artistic images allows to discover codes transmitting peculiarities and dynamics of culture. This is due to the fact that art has a capability of the in-depth generalization which is expressed in artistic images affecting both our hearts and minds. Art can create an integral image of the human world. The main conclusions of the research are the following: the Soviet socialist culture of the industrial society in the 1960s - 1980s preserved features of the traditional society along with technological breakthroughs and rationalized behavior patterns. Innovation-oriented culture contradictory engaged old and new forms of traditional culture in the Soviet socialist culture of the industrial society of the 1960s - 1980s. The same system's peculiarity can be found in the instutition of the family and its reproductive and socializing functions. Being part of a cultural actor's axiological system (human and society in general), motherhood and fatherhood and parents-and-children relationships violated between traditional values and new values of the innovative society. Moreover, results of the systems analysis demonstrated that motherhood and fatherhood and parents-and-children relationships violated between socialist ideology and everyday life as the 'microlevel of life' and individual's actual living space filled with particular items and events. Here we can observe the duality of the sociocultural phenomenon and consequently the duality of its representation in artistic images. 

Abstract: The article of the research is the personal traits (in particular, individual method of behavior in a profession) and creative work of female film directors. The research hypothesis is based on the point of view that 'film direction is not a woman's profession' and on the expression that 'all female film directors have a masculine personality'. The features of their creative work are analysed in terms of the following three indicators: 1) the levels of an artwork, elite and popular; 2) creative interest towards the Soviet theme; 3) genre features. The object of the research is a group of 19 female film directors who were best-known in the Soviet cultural environment of the 1960-1980s as well as the most known female film directors of today's Russia, Ukraine and Georgia. The research is based on the method of content analysis that has allowed to define the problem. The researchers have used this method to analyze sayings and expressions of female directors and their creative teams and colleagues regarding their personality and personal traits (based on the Internet sources). The statistical method has been also applied to the present research. In particular, the authors have chosen women for their research based on the lists of popular film directors on the Kino-Teatr.ru website. The main conclusions of the research are the following. Firstly, in terms of contemporary culture, even professional communities and associations retain traditional cultural stereotypes, such as: professional behavior and personal traits of female film directors related to universal human terminal and instrumental values are still viewed as 'masculine'. Secondly, discovered cultural, thematic and genre features of creative work of the most famous Soviet (1960 - 1980) and contemorary Russian female film directors demonstrate that even women with 'masculine personalities' make 'female' films, moreover, these are films of high artistic merit recognized by both the audience and authoritative professional community. 

Abstract: Object of research is representation of the Soviet economic daily occurrence of the 1960-1980th in art of this period. Production and consumption, household and social production, the individual valuable orientations motivating economic activity of the subject of culture, and also their subject-corporal fixedness falls within the scope of economic daily occurrence; perception of official culture masses; mentality manifestations in economic activity; perception of official culture masses – adaptation of specialized forms of economic culture in daily forms. Research objective – to reveal gender features àêñèîëîãèêè the work, reflected in artistic images of the Soviet mass art of the 1960-1980th. Research methodology: system, historical typology and komparativny methods, semiotics and germenevtichesky analysis of works of art. Research showed: in the Soviet socialist culture of industrial society development of innovations is inconsistent connected to strengthening of traditional valuable orientations and new forms of tradition. From "thaw" time to the "seventieth" value of socialist values in society steadily decreased. Valuable orientations were displaced from socialist to traditional and universal values, and also to values of market economy and a consumer society. In the period of "thaw" and in the "seventieth" art figuratively embodied all completeness of the real valuable world of the subject of the Soviet culture.

Abstract: The research is devoted to the images of Soviet economic culture of the 1960 - 1980's represented in art of that period. Economic culture is viewed as a form of human activity aimed at acquiring material wealth. The purpose of the present research is to reconstruct the process of interconnection and interdependence of material, spiritual and art elements of Soviet culture based on the analysis of peculiarities, main trends and cultural dynamics of images of Soviet economic culture in popular art. Research methods included system approach, method of historical typology, cultural (diachronic), semiotic and hermeneutic analysis of art work. The results of the research showed that: body images of that period contained typical features of Soviet economic culture of the 1960 - 1980's, in particular, contradictory combination of the dominating administrative-command economy and black market economy as well as combination of the industrial culture and traditional culture. Soviet society was depicted in body images of a Soviet man, too and it was the mixed type of industrial and pre-industrial, traditional and innovative, open and closed, popular and consumer society.  Body images showed a Soviet man of different axiological types,  from 'the builder of communism' to the 'everyman'. Changes in art images of transport since the period 'of thaw' to the 'seventieth' also reflected transformation of values from socialistic values to traditional values and values of the consumer society. Conclusions and research materials can be used for teaching cultural studies, philosophy of culture, history of Russian culture, economy and art history. Some aspects of the research can help to solve particular issues in the field of modern economic culture. Research results can also help to form the system of values of the younger generation.

Abstract: Profession is one of basic values of economic culture. Based on the system approach, method of historical typology, cultural and historical, semiotic and hermeneutics analysis of art work, the author of the article defines particular features of images of profession in the Soviet popular art in the 1960-1980's. Images of different professions are analyzed in terms of their value for acquiring material wealth and their dynamics since the time 'of the thaw' till the 'seventieth'. Images of professions represented in art reflected the Soviet economic culture, Soviet society and a Soviet citizen of different axiological types. 

Abstract: The research is devoted to the images of Soviet economic culture of the 1960 - 1980's represented in art of that period. Economic culture is viewed as a form of human activity aimed at acquiring material wealth. The purpose of the present research is to reconstruct the process of interconnection and interdependence of material, spiritual and art elements of Soviet culture based on the analysis of peculiarities, main trends and cultural dynamics of images of Soviet economic culture in popular art. Research methods included system approach, method of historical typology, cultural (diachronic), semiotic and hermeneutic analysis of art work. The results of the research showed that: art images of labour contained typical features of Soviet economic culture of the 1960 - 1980's, in particular, contradictory combination of the dominating administrative-command economy and black market economy as well as combination of the industrial culture and traditional culture. Soviet society was depicted in art images of labour, too and it was the mixed type of industrial and pre-industrial, traditional and innovative, open and closed, popular and consumer society.  Art images of labour also showed a Soviet man of different axiological types,  from 'the builder of communism' to the 'everyman'. Changes in art images of labour since the period 'of thaw' to the 'seventieth' also reflected transformation of values from socialistic values to traditional values and values of the consumer society. Conclusions and research materials can be used for teaching cultural studies, philosophy of culture, history of Russian culture, economy and art history. Some aspects of the research can help to solve particular issues in the field of modern economic culture. Research results can also help to form the system of values of the younger generation.

Abstract: The research is devoted to the images of Soviet economic culture of the 1960 - 1980's represented in art of that period. Economic culture is viewed as a form of human activity aimed at acquiring material wealth. The purpose of the present research is to reconstruct the process of interconnection and interdependence of material, spiritual and art elements of Soviet culture based on the analysis of peculiarities, main trends and cultural dynamics of images of Soviet economic culture in popular art. Research methods included system approach, method of historical typology, cultural (diachronic), semiotic and hermeneutic analysis of art work. The results of the research showed that: art images of transport contained typical features of Soviet economic culture of the 1960 - 1980's, in particular, contradictory combination of the dominating administrative-command economy and black market economy as well as combination of the industrial culture and traditional culture. Soviet society was depicted in art images of transport, too and it was the mixed type of industrial and pre-industrial, traditional and innovative, open and closed, popular and consumer society.  Art images of transport showed a Soviet man of different axiological types,  from 'the builder of communism' to the 'everyman'. Changes in art images of transport since the period 'of thaw' to the 'seventieth' also reflected transformation of values from socialistic values to traditional values and values of the consumer society. Conclusions and research materials can be used for teaching cultural studies, philosophy of culture, history of Russian culture, economy and art history. Some aspects of the research can help to solve particular issues in the field of modern economic culture. Research results can also help to form the system of values of the younger generation.

Abstract: In the article on the basis of approach of the systems, comparative and semiotics analysis, wide circle of sources - artistic texts of 1960-1980th the features of artistic representations of profession of teacher come to light in a soviet mass art. In artistic representations the features of profession of teacher come to light in the aspect of her value for welfare, in a dynamics from time «thaw» to «seventieth». Images presented the profession of teacher in two discursis: ideological and everyday. The transitional type of soviet society, his difficult structure, subject of culture, is a man of different axiology types, gender feature of pedagogical labour was reflected in artistic representations of profession of teacher. Finally, in characters of teacher reflected deep senses of soviet culture: displacement valued orientations societies from socialistic to the traditional values and values of mass society of consumption, disparity ideological and everyday discursis about final and instrumental values, explaining activity of majority of subjects of culture.