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31 УДК 7.01 Viktoria Sukovataya – Professor Kharkiv Karazin's Вісник Харківського національного університету імені В.Н. Каразіна – випуск 53 Jacek Sztyler. The problem of participation of persons with disabilities in the labor market. The author pays particular attention to participation in the production process of people with disabilities. It highlights a number of important points the moral, psychological and philosophical nature, accompanying the establishment of relations of employers and people with disabilities. Notes the stability of employment of people with secondary and higher education and women. At the same time there is a significant proportion of people with disabilities, who for various reasons are not ready or do not want to look for a job, that is a certain social and economic problem for society. To solve these problems requires a government program. Keywords: family, work, community, responsibility, morality, psychology. УДК 7.01 Viktoria Sukovataya – professor Kharkiv Karazin’s univercity THE POPULAR CULTURE OF THE COLD WAR: THE SPY GENRE AND ITS EVOLUTION IN THE SOVIET CINEMA The article is devoted to analyses of the cultural consciousness during the Cold War, which was reflected in the genre of spy cinema. It was argued that the spy movie (along with the film noir and nuclear fantasies) was one of the most representative genre of the Cold War, because it reflected the basic cultural notions of that ep- och. It was concluded that the popular culture during the Cold War was focused on the genre of the spy detec- tives because it contains the most representative images of the confrontation between the Soviet and the Western societies Key words: Cold War cinema, popular culture, Soviet movie, spy genre The World War II had cost more 50 million people their lives and left behind massive material destruc- tion in the West Europe and the Soviet Union. Only the United States among other allies had survived the World War II as the richest nation in the world. However concord among the previous allies continued not long time after the end of the war: in 1946 the former British premier W. Churchill first spoke about the “Iron Cur- tain” that should to divide the East European countries under the Soviet control and the Western European coun- tries which were considered as a citadel of democracy. American president H. Truman declared the containment of Communism and the spreading and the influence of the Soviet Union as the highest goal of the American for- eign policy [1]. The epoch of the Cold War started as the ideological confrontation and the economic and politi- cal competition. The ideology of the Cold War offered not only the certain political ideas to the mass audience, but also a certain cultural perspective, through which was supposed to interpret the world. The main political events that associated with the Cold War epoch in the contemporary American mentality, were the “Red Scare” and the McCarthyism in the early 1950s, the Korean war (1950-1953), the Vietnamese war (1965-1975), the Suez Crisis (1956), Cuban Crisis (1959-1962), African-American Civil Rights Movement (1954–68) and murdering Martin Luther King, execution of Julius and Ethel Rosenberg (1953) who were convicted of conspiracy to commit es- pionage, the nuclear fears and anti-communism in 1960-1970th. American scholar Richard Hofstadter defines the American politics which culminated in the “conspiracy theories” and "movements of suspicious discontent" during the Cold War as the "paranoid style" [2] which affected the popular culture: American cinema, televi- sion, songs, youth movements. Despite a number of the political, public and war crises during the Cold War, that period, 1940-1950s were considered as the “golden age” of the American cinema. As Tony Shaw wrote [3], the tensions between East and West were fully institutionalized Cold War and thanking to television and cinema penetrated in hearts and minds of Americans. The public fears have been supported by the official propaganda of a military threat of the hegemony of the "Others" and the nuclear war, and have generated plots, among which the most representative genres became the anti-Communist movie, film noir, spy detective, horrors, and fantasies about “nuclear apocalypses”. The post-war time was the “Classic Period” when Hollywood created the best samples of cinema and established the thematic paradigms for American commercial filmmaking [4]. And some American researchers suggest [5] that the era of the Cold War created the modern American identity in the form which it exist now. _______________________ © Sukovataya Viktoria, 2016 31 Розділ перший. Філософія доби глобалізму, постмодерну й інформатизації The political context of the Cold War in the Soviet Union was associated with other political events: to replace the post-war repression (1947-1949) and the “Doctor’s Plot” (1948 -1953) came to the "Thaw" and the common liberalization of the Soviet regime after the death of Stalin and the 20th Congress of the Communist Party. Among the political events that have influenced the Soviet consciousness of the Cold War, was the divi- sion of Germany and Berlin on the East and West parts, the invading the Soviet troops in Budapest (1956) and Prague (1968), as well as the war in Afghanistan (1978-1988), and the participation of Soviet specialists in the local conflicts in Africa and Asia. But among the tragic events the important Soviet achievement was launching the first artificial “Sputnik” (1957) and put into orbit the first human cosmonaut Yuri Gagarin (1961), and the World Youth Festival in Moscow (1957) and the dissident movements in the Soviet Union. In the beginning of the Cold War, the Soviet Union tested the world's largest hydrogen bomb (1953), but information about it in the Soviet society was more secret than the "spy scandals" because information about them infiltrated the Soviet mass media and television political debates such, for example, as the "International Panorama" (1969-1991). The fundamental category of the Cold War was the opposition between the "democratic West" and the "Com- munist East" (in the terms of the Cold War propaganda) as mutually exclusive values and as the images of the "hostile", "dangerous" and "unpredictable" Other for each other. It means that during the Cold War period the spy genre was the most convenient matrix dedicated to confrontation between two ideological systems in the images of the secret agents and spies. The actuality of my research is stipulated by several reasons: if the American popular culture of the Cold War has received quite extensive studies in the West [6; 7], but Soviet cinema art was investigated mostly in political and historical perspectives in the Soviet Union and Russia [8; 9]. The first monographs on the cultural specifics of the Cold War cinema in the Soviet Union have been published in the West [10] and in Russia [11] recently, and they give different views in comprehension of the Soviet and American movies of the Cold War time. During the Soviet period it was customary to assume that the spy detectives are products primarily of Western mass culture and the Western myths of the Cold War, of the anti-Soviet hysteria, searches for the post- war images of the Other in the world "after the atomic bomb". However, my vision is that despite the fact that the Western genre terminology was not widespread in the Soviet Cultural studies, the phenomenon of the "spy movie", the same with Western Bondiana, existed in the Soviet Union during the Cold War. I will concentrate on the genre of the Soviet spy movies and its evolution which were not researched until now. A classic the Western "spy genre" is considered to be I. Fleming’s novels, and then the series about the fearless agent Bond 007, saving the Western democratic values in the fight against “Red Moscow”. Ideological confrontation with the West was absent in the first Soviet films about the spies. If the structure of the classical Western spy movies (classical Bondiana) had scheme of fairy tale, in accordance with Umberto Eco [12], but a situation was different in the Soviet cinema of the postwar years because the first films on the "spy issue" could be identified as the “war dramas”: they were dedicated to the recent the Soviet war against German Nazis. The first Soviet films on spy issue demonstrated the post-war moods in the Soviet society: the happiness of the end of the war and the Great Victory; the believing in a flourishing future, which should come after the war sufferings. The Soviet spy was fighting with the Nazis in the beginning of creation of the “spy genre” in the Soviet Union, and it acquitted any spy’s behavior. The famous Soviet film “The Feat of Secret Agent” (B. Bar- net, USSR, 1947) referred to the fragments of the fate of the famous Soviet spy-saboteur Nikolai Kuznetsov, acting on the territory of Western Ukraine during the Nazi occupation. A key phrase of Kuznetsov from the So- viet film “The Feat of Secret Agent” is an expression which has become a motto for many Soviet generations and a part of Soviet mythology: pretending to be a German lieutenant, Kuznetsov in the movie gave a toast among other German officers: "To OUR Victory!", demonstrating thereby for the Soviet audience the benefits of the "double" spy identity: even being in the center of enemies, the hero openly articulated his love to his motherland (the Soviet Union), using a "double code" of his own expressions. Kuznetsov makes a play of words in movie because his expressions were addressing to the real situation being among Germans, but it was having an internal, symbolic meaning wishes victory to the "OURS", which meant the Soviet people. To my mind, the first Soviet films on spies had not tropes which were traditional for the Western "spy" movies (in accordance with A.
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