SOVIET CINEMA POLITICS AT THE FINAL STAGE OF THE "COLD WAR" (LATE 1970’s - EARLY 1990’s)
The article examines the Soviet policy in the field of cinematography / cinema politics, carried out in the late 1970s - early 1990’s.The complex structural and functional aspect of film politics is shown. On the one hand, it acted as a representative reflection and resonance on the events of the Cold War. On the other hand, the creative activity of the theatrical and cinematic intelligentsia, the establishment of priorities and directions of its activity, which did not fit into linear schemes, acquired a significant importance. The author comes to the conclusion about the systematically growing tension in relations between the authorities and cinematographers. At the institutional level, this was expressed in a sharp opposition between official structures - the party and state apparatus, control and oversight departments, and public organizations, first, the Union of Cinematographers, which, from an optional auxiliary corporate organization, increasingly began to claim independence and freedom in implementation of film production initiatives. The interrelation of internal and external factors is being established - perestroika 1985-1991 and the end of «detente» in international relations, which have intensified the contradictions between the conservative-protective and liberal-renovation course, commercial and ideological priorities in building Soviet cinema politics with respect to the United States and other countries.