Transformation of the teacher’s image in Soviet and Russian Cinematography: Intracultural Dialogue

Abstract

This article examines the structure of the teacher’s image and its semantic content in Soviet and Russian cinema. In the 30s, it appeared to be of a generalizing nature; in the 40s, the teachers were idealized, in the cinema of the “Thaw” period a teacher appears as a person with the entire spectrum of human feelings. In cinematography, the specifics of the teacher’s activity and the demonstration of his awareness of his place in the pedagogical process depended on social attitudes. Thus, each decade has demonstrated a new approach. The relationship between the teacher and the student in the cinema of the 70s–80s of the 20th century was especially complex and multifaceted. In the era of perestroika, in the context of the decline in universal human values, the attitude towards the teacher changed. In most films, a teacher is either the cause of the conflict, or the object on which the student takes out his dissatisfaction with the world.