Movie-era collectivism as a mirror of national and cultural identity

Within the framework of this article disclosed the reasons for the uniqueness of the Soviet cinema with the position of the kul'turfilosofskogo understanding of the national and cultural identity. The authors reconstruct components of artistically-shaped system, due to the nature of identity. To this end, first, value-meaning installation of national culture. Secondly, the specificity of the broadcast value system to a new socio-cultural space means film language. The study found that such cultural attitudes, as humanity, morality, patriotism, collectivism and remain informative database of domestic filmmaking. Moreover, they jeksplicirujutsja in the space of new cultural and historical conditions and blend harmoniously with the new type of identity-identity of the Soviet citizen. Collectivism, has a cultural affinity with the community, the Parliament in the work of self-consciousness is given special attention. Analysis of kinoproizvodstvennoj and artistic spheres of national cinema confirms similar cultural continuity. This is indicated by the antikommercheskaja development orientation of the Soviet cinema. Unique aesthetic achievement of the drawings and design collective model becomes a reality. A similar Russian experience, as opposed to the prevailing Western tradition (based on the individual), and kinematografijam in Eastern Europe. Moreover, despite the critical importance of ideology in the development of Soviet art and culture, the authors draw attention to the underside of the standardization of ideological and cultural life of society. State control and standard ideals and designs in the artistic culture generates mixed results in practice. This ambiguity is due to the fact that the basic principles of the Soviet ideology, the defining film of socialist realism, related to the nature of national and cultural identity. In turn, the problem of the relationship of society and the individual, individual and collective put and solved in a special way. The value of the individual in the context of the collective experience of being. This position determines the semantic complexity of national cinema until 1990-ies. With the abandonment of ideology, from the values of the Soviet era film acquires new qualities, much less related to cultural identity.

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