Suchergebnisse

The article continues the tradition of studying the ideological campaigns of late Stalinism and their most severe stages-manifestations in terms of concentration and intensity of application of political technologies - the struggle against "rootless cosmopolitanism". Specific episodes of the control and repressive influence, sanctions against cultural figures, the Soviet cinematographic intelligentsia are investigated, detailed. The instrumental purpose of the campaign is established in the genesis of the imagological conflict, the formation of the "image of the other", "enemy number one", segregation into "us" and "them" in the conditions of the Cold War.

The article analyzes the specifics of American ideology and cultural space, its influence on the activities of state and public institutions, the position of representatives of the theater and cinema corporation in the United States under conditions of control and censorship, propaganda pressure. Conclusions are drawn about the consequences of forced segregation of filmmakers into «friends» and «strangers» - the need to adapt in an atmosphere of «cold» information and ideological challenges, the examination of media-texts (films) and their images for political reliability. The ambiguity and inconsistency of cinema policy, allowing the realization of opportunities for legal cooperation and interaction with the opposition, is shown.

This article is devoted to one of the most important administrative and political actions initiated by Stalin's regime in the mid-1930s – campaigns on verification and exchange of party documents. The author made an attempt to examine the whole course of the campaign as much as possible in detail, from the preparation stage at the beginning of 1935 until its completion in the autumn of 1936 in a particular historical and geographical location – in the areas of the Upper Volga region. Documentary base of this research were, first of all, archival materials, introduced into scientific circulation for the first time. In this article series on the basis of the evidence the author reveals the following provisions. Firstly, investigation of party documents represented a large-scale ideological and political examination covering all regions – intra-party filtering of communists for "political reliability". Secondly, the immediate aim of the campaign was to collect materials compromising the Communists and to make a list of the potentially repressed. One of the most important tools for carrying out the "ideological examination" of the Party and Soviet nomenclature used together with public security bodies in the territory of the Upper Volga region in the mid-1930s, was represented by the Party Control Commission (CPC) at the Central Committee of the CPSU (b) and its regional structure – Communist Party Collegium and later by the authorized representatives of the CPC of the Ivanovo and Yaroslavl regions. The author makes the general conclusion – campaign for the exchange and verification of party documents became the representative illustration of methodologically verified political technologies of the Stalin's regime, as evidenced by its course: organization; full control by the center by means of directives; efficiency manifested in revealing "socially alien elements" recorded statistically for CPC line.

Introduction. The article is devoted to the consideration of McCarthyism as one of the leading factors that influenced the cultural policy and politics of memory in the United States throughout the entire period of the Cold War. Methods and materials. The ways of representing the atmosphere of conservative ideological control in the United States in the films of the 1950's – 2010's are explored. Films are considered media texts, and the images contained in them are considered symbolic resources used to form and transform a collective identity, legitimize power, its control, and repressive technologies and practices – social mobilization, politicization of everyday life, censorship, and segregation into "their" and "strangers." Analysis. In the course of the historical and imagological analysis, a conditional typology of potential agents of McCarthyism is made. The following are distinguished: institutional conformist careerists, administrators; "soft" conformists – failed oppositionists to political pressure; indoctrinated representatives of mass culture, demonstrating the active complicity of the authorities in imposing ideological labels and encouraging spy mania and exposure. Results. Conclusions are drawn that McCarthyism has become a form of anti-Americanism, moral corrosion, and commemorative trauma in American society, the result of the escalation of the cultural, ideological, and mental "storm," producing a state of intolerance not only to the image of the enemy but also to the Other as a whole. This required more than half a century of overcoming and purifying in the media space.

The article is devoted to the study of the role of music and sound effects in the Anglo-American cinematograph. An attempt is made to assess the political and symbolic potential of media resources for representing the «image of another». To this end, the author examines a number of specific films created at different stages of the Cold War. Conclusions are made about the use of the following methods of media construction: noir representation, political-satirical spectrum, modes of address-local or mixed/combined borrowing of compositions, imitation of a «different» culture.

The subject field of the article is the historical-imagological spectrum and comparative perspective. The main actors that influenced the dynamics of the representation of the enemy/other image in the political discourse of the Cold War are investigated. The main type ofsources were journalistic materials presented by Soviet and American literature of various levels, from newspaper publications to voluminous popular science publications. Conclusions are drawn about the ambivalence of cultural space, the coexistence of both stable imagological landmarks and constructs, and their adjustments, counter "drifts" of dehumanization or rehumanization emanating from the opposing sides and caused by the stages of the Cold War.