The image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period

The presented study is devoted to studying the practice of constructing the image of a phantom threat to children from the side of an external enemy through historical discourse in the cinema of the USSR and the USA during the Cold War. The aim of this work is to identify common and specific features in the approaches of filmmakers of the two countries to the formation of the image of a phantom threat for children from the side of an external enemy. The research methodology is built on the basis of a combination of historical genetic, comparative and descriptive, as well as content analysis. The author comes to the conclusion that in American films the historical texture in the framework of creating the image of the “Soviet threat” was used only occasionally. For the most part, the relevant plots were included in the cinematic description of actual military conflicts (for example, the war in Afghanistan), the futurological conflict of America and the USSR, or their confrontation in line with an alternative history. Soviet filmmakers were limited in terms of positioning the "American threat" by a series of unspoken rules. For example, the violent behavior of American characters toward children was described primarily verbally. Filmmakers from the United States had more freedom in terms of visualizing violence against children and adolescents. In addition, Americans could more freely and widely disclose the topic of “crimes” attributed to the Soviet side in the context of actual military conflicts. The presence of the indicated restrictions forced Soviet filmmakers to actively turn to historical subjects. However, the specifics of the origin of the basis of the corresponding narrative, which was played by foreign fiction, largely leveled its effectiveness from a political point of view. The literary sources of Soviet films were originally created by American writers for US citizens, whereby their content was saturated with positive images of America and its inhabitants. The latter often concerned the positioning of childhood, especially in a nostalgic manner. A natural consequence of this was the erosion of the negative images promoted by filmmakers. The theoretical significance of the work lies in summarizing the image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period.