Вестник Волгоградского государственного университета. Серия 4: История. Регионоведение. Международные отношения1998-99382312-870410.15688/jvolsu4.2024.1.1OtherВраг с человеческим лицом? Регуманизация образов американцев в кинематографе «оттепели»The Enemy with Human Face? Rehumanization of the Images of Americans in the Soviet Thaw CinemaРябовОлег ВячеславовичRiabovOleg V.riabov1@inbox.ru0000-0002-5944-9668Herzen University (Saint Petersburg, Russian Federation)Российский государственный педагогический университет им. А.И. Герцена (г. Санкт-Петербург, Российская Федерация)110320242916153108202304112023https://creativecommons.org/licenses/by/4.0/CC BY 4.0

Введение. В статье анализируются изменения, которые в период «оттепели» происходили в изображении американских персонажей советским кинематографом. Вклад статьи в исследовательское поле «культурной холодной войны» состоит в том, что впервые: изучаются образы американских персонажей совет ского кино сквозь призму концепта регуманизации; устанавливаются общие и различные черты деконструкции образа врага в кинематографе СССР и США; вводятся в научный оборот новые источники. Источниками являют ся фильмы, над созданием которых кинематография СССР работала в начале 1960-х гг.; рецензии в журналах; архивные данные, посвященные обсуждению на киностудиях фильмов и их сценариев. Анализ. Специфика дегу манизации «врага номер один» в кино СССР. Особенность советского антиамериканизма заключалась в том, что он был основан на идее «двух Америк»: дегуманизации подвергались только классово и политически чуждые американцы. Деконструкция образа врага в кинематографе «оттепели». Очеловечивание американских пер сонажей достигалось за счет: наделения их такими чертами, как доброта, сострадание, креативность, эмоциональ ность, следование моральным нормам, способность к любви, дружбе, товариществу; подчеркивания сходства базовых ценностей «своих» и «чужих»; демонстрации возможности мирного сосуществования через взаимопо мощь, кооперацию, возникновение дружеских и романтических отношений. Изображение человечности амери канских персонажей становится менее зависимым от их политических характеристик. Высказывается идея о том, что все люди от природы являются добрыми, что в наибольшей степени обнаруживает себя в детях, в том числе американских. Пределы регуманизации. Консервативная часть советской элиты обвиняла «абстрактный гума низм» в забвении классового принципа, противопоставляя ему «революционный гуманизм». Критика «абстрак тного гуманизма» в идеологии сопровождалась ужесточением требований к изображению США со стороны представителей инстанций, контролирующих создание кинокартин. Результаты. В 1960-е гг. в советском кино (так же, как и в американском) заметна тенденция деконструкции образа «врага номер один», которая принимает форму регуманизации. Регуманизация американских киноперсонажей имела свои пределы.

Introduction. The article focuses on the changes that happened in the portrayal of U.S. characters in Soviet Thaw cinema. The contribution of the article in the field of cultural Cold War is threefold: for the first time, it studies the American characters’ images through the prism of the concept of rehumanization; establishes common and particular traits of deconstruction of the image of the enemy in Soviet and American cinema; and introduces new materials into scientific circulation. The materials consist of the movies on which Soviet cinematography worked in the early 1960s; reviews in film magazines; and archival data of discussions on movies and their scenarios that took place in film studios. Analysis. Specifics of the dehumanization of ‘enemy number one’ in Soviet cinema. The Soviet anti-Americanism was based on the idea of ‘two Americas’: dehumanization has been subjected only to class and politically alien Americans. Deconstructing the image of the enemy in Thaw cinema. Humanizing U.S. characters was achieved with the help of endowing them with kindness, empathy, creativity, emotionality, moral behavior, ability for love, friendship, and comradeship, emphasizing the similarity of the basic values of ‘us’ and ‘them’, and demonstrating the possibility of peaceful coexistence through cases of mutual aid, cooperation, and the occurrence of friendly and romantic relations. The humanness of U.S. characters becomes less dependent on political factors. The cinema expressed the idea that man by nature was good, and this original human goodness was noticeable most of all in children, including American ones. The limits of rehumanization. The conservative part of the Soviet elite accused ‘abstract humanism’ of forgetting the class principle and juxtaposed it to ‘revolutionary humanism’. Criticism of ‘abstract humanism’ in ideology was accompanied by a tightening of demands for representing America that representatives of the Soviet controlling bodies made. Results. In the 1960s, Soviet cinema (just like U.S. cinema) had the tendency of deconstructing the image of ‘enemy number one’, which took the form of rehumanization. The rehumanization had its limitations.

холодная войнаобраз врагаантиамериканизмкинематограф «оттепели»дегуманизациярегуманизацияCold Warimage of the enemyanti-AmericanismThaw cinemadehumanizationrehumanizationПредставленное исследование выполненопри финансовой поддержке РНФ, грант № 22-18-00305, https://rscf.ru/project/22-18-00305/ (РГПУим. А.И. Герцена, Санкт-Петербург).The reported study was funded by RSF, Grant№ 22-18-00305, https://rscf.ru/project/22-18-00305/(Herzen University, Saint-Petersburg).Aleksandrov G. Eskizy k budushchemy filmu [Sketches to Forthcoming Film]. Iskusstvo kino [Art Cinema], 1957, no. 8, pp. 54-65.Bronfenbrenner U. The Mirror Image in SovietAmerican Relations: A Social Psychologist’s Report. Journal of Social Issues, 1961, vol. 17, no. 3, pp. 45-56.Caute D. The Dancer Defects: The Struggle for Cultural Supremacy During the Cold War. New York, Oxford University Press, 2005. 788 p.Delo filma ‘Vstrecha na dalekom meridiane’, prekrashchennogo proizvodstvom, avtor stsenariya M. Uilson, rezhisser I. Talankin [The Case of the Film “Meeting on a Distant Meridian”, Which Was Discontinued, Scriptwriter M. Wilson, Director I. Talankin]. Rossiyskiy gosudarstvennyj arkhiv literatury i iskusstva (RGALI) [Russian State Archive of Literature and Art], f. 2944, i. 4, d. 1055.Dokladnaya zapiska Agitpropa TsK M.A. Suslovu o rukopisi knigi I.G. Erenburga ‘Noch Ameriki’ [The Agitprop Report to M.A. Suslov on I.G. Erenburg’s Manuscript ‘The Night of America’]. Nadzhafov D., ed. Stalin i kosmopolitizm: dokumenty Agitpropa TsK KPSS, 1945–1953. Moscow, Materik Publ., 2005, pp. 497-498.Hashamova Y. Pride and Panic: Russian Imagination of the West in Post-Soviet Film. Bristol, Chicago, Intellect Books, 2007. 114 p.Haslam N. Dehumanization: An Integrative Review. Personality and Social Psychology Review, 2006, vol. 10, no. 3, pp. 252-264. DOI: 10.1207/ s15327957pspr1003_4Hixton W. Parting the Curtain. Propaganda, Culture and the Cold War, 1945–1961. New York, St. Martin Press, 1997. 299 p.Mesto khudozhnika v bitve idey [The Artist’s Place in the Battle of Ideas]. Iskusstvo kino [Art Cinema], 1963, no. 8, pp. 1-11.Protokoly zasedaniya stsenarnoredaktsionnoy kollegii po obsuzhdeniyu literaturnykh i rezhisserskikh stsenariev: ‘Vstrecha na dalekom meridiane’ M. Uilsona. RGALI, f. 2944, i. 5, d. 52.Riabov O.V. Regumanizatsiya ‘chuzhikh’: evolyutsiya reprezentatsiy ‘vraga nomer odin’ v amerikanskom kinematografe kholodnoi voiny [Rehumanization of ‘Them’: Evolution of Representations of the ‘Enemy Number One’ in American Cold War Cinema]. Dialog so vremenem [Dialogue with Time], 2021, no. 77, pp. 277-290. DOI: 10.21267/AQUILO.2021.77.77.018Riabov O.V., Belov S.I., Davydova O.S., Kubyshkin A.I., Riabov D.O., Riabova T.B., Smirnov D.G., Sputnitskaia N.Iu., Iudin K.A. ‘Vrag nomer odin’ v simvolicheskoi politike kinematografiy SSSR i SShA perioda kholodnoi voiny [‘Enemy Number One’ in the Symbolic Politics of the Cinematographies of the USSR and the USA During the Cold War]. Moscow, Aspect press, 2023. 400 p.Siefert M. Meeting at a Far Meridian: American-Soviet Cultural Diplomacy on Film in the Early Cold War. Babiracki P., Zimmer K., eds. Cold War Crossings: International Travel and Exchange in the Soviet Bloc, 1940s – 1960s. College Station, Texas A&M Press, 2014, pp. 166-209.Shaw T. The Russians Are Coming The Russians Are Coming (1966): Reconsidering Hollywood’s Cold War ‘Turn’ of the 1960s. Film History, 2010, vol. 22, no. 2, pp. 235-250.Shaw T., Youngblood D.J. Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds. Lawrence, University Press of Kansas, 2010. 301 p.‘Sorok devyat dney’. Literaturnyj stsenariy G.Ya. Baklanova, Yu.V. Bondareva, V.F. Tendryakova. Rezhisser M.I. Romm. 1-yj variant [“Forty-Nine Days.” Literary Script by G.Ya. Baklanov, Yu.V. Bondarev, V.F. Tendryakov. Directed by M.I. Romm. 1st Option]. RGALI, f. 2329, i. 12, d. 1143.‘Sorok devyat dney’. Rezhisserskiy stsenariy G.S. Gabaya po literaturnomu stsenariyu G.Ya. Baklanova, Yu.V. Bondareva, V.F. Tendryakova [‘Forty-Nine Days.’ Director’s Script by G.S. Gabay. Based on the Literary Script by G.Ya. Baklanov, Yu.V. Bondarev, and V.F. Tendryakov]. RGALI, f. 2329, i. 12, d. 1144.Statya: I.G. Erenburg ‘Noch Ameriki’ [Article: I.G. Erenburg ‘The Night of America’]. RGALI, f. 618, i. 14, d. 854.Stenogramma zasedaniya Khudozhestvennogo Soveta po obsuzhdeniyu otsnyatogo rezhisserskogo stsenariya M. Donskogo ‘Zdravstvuyte, deti!’. 12 yanvarya 1961 [Transcript of the Meeting of the Arts Council to Discuss the Filmed Director’s Script by M. Donskoy: “Hello, Children!” January 12, 1961]. RGALI, f. 2468, i. 3, d. 104.Stenogramma rasshirennogo zasedaniya partbyuro po obsuzhdeniyu otsnyatogo materiala kinofilma ‘Zdravstvuyte, deti!’. 3 noyabrya 1961 [Transcript of an Extended Meeting of the Party Bureau to Discuss the Footage of the Film “Hello, Children!” November 3, 1961]. RGALI, f. 2468, i. 3, d. 105.Stenogramma zasedaniya vstrechi s politrabotnikami Sovetskoy Armii i komsomolskim aktivom ot 28 noyabrya 1960 g. po obsuzhdeniyu filma ‘Mir vkhodyashemu’ [Transcript of the Meeting with Political Workers of the Soviet Army and Komsomol Activists Dated November 28, 1960 to Discuss the Film ‘Peace to the Enterer’]. RGALI, f. 2453, i. 4, d. 1010.Troyanovskiy V. Chelovek ottepeli (50-e gody) [Person of the Thaw (50s)]. Fomin V., ed. Kinematograf ottepeli: Dokumenty i svidetelstva. Moscow, Materik Publ., 1998, pp. 5-76.Vartanov A. Noch s effektami [The Night with Effects]. Iskusstvo kino [Art Cinema], 1962, no. 12, pp. 32-35.Woll J. Real Images: Soviet Cinema and the Thaw. London; New York, Tauris, 2000. 267 p.Aleksandrov G. Eskizy k budushchemy filmu [Sketches to Forthcoming Film]. Iskusstvo kino [Art Cinema], 1957, no. 8, pp. 54-65.Bronfenbrenner U. The Mirror Image in SovietAmerican Relations: A Social Psychologist’s Report. Journal of Social Issues, 1961, vol. 17, no. 3, pp. 45-56.Caute D. The Dancer Defects: The Struggle for Cultural Supremacy During the Cold War. New York, Oxford University Press, 2005. 788 p.Delo filma ‘Vstrecha na dalekom meridiane’, prekrashchennogo proizvodstvom, avtor stsenariya M. Uilson, rezhisser I. Talankin [The Case of the Film “Meeting on a Distant Meridian”, Which Was Discontinued, Scriptwriter M. Wilson, Director I. Talankin]. Rossiyskiy gosudarstvennyj arkhiv literatury i iskusstva (RGALI) [Russian State Archive of Literature and Art], f. 2944, i. 4, d. 1055.Dokladnaya zapiska Agitpropa TsK M.A. Suslovu o rukopisi knigi I.G. Erenburga ‘Noch Ameriki’ [The Agitprop Report to M.A. Suslov on I.G. Erenburg’s Manuscript ‘The Night of America’]. Nadzhafov D., ed. Stalin i kosmopolitizm: dokumenty Agitpropa TsK KPSS, 1945–1953. Moscow, Materik Publ., 2005, pp. 497-498.Hashamova Y. Pride and Panic: Russian Imagination of the West in Post-Soviet Film. Bristol, Chicago, Intellect Books, 2007. 114 p.Haslam N. Dehumanization: An Integrative Review. Personality and Social Psychology Review, 2006, vol. 10, no. 3, pp. 252-264. DOI: 10.1207/ s15327957pspr1003_4Hixton W. Parting the Curtain. Propaganda, Culture and the Cold War, 1945–1961. New York, St. Martin Press, 1997. 299 p.Mesto khudozhnika v bitve idey [The Artist’s Place in the Battle of Ideas]. Iskusstvo kino [Art Cinema], 1963, no. 8, pp. 1-11.Protokoly zasedaniya stsenarnoredaktsionnoy kollegii po obsuzhdeniyu literaturnykh i rezhisserskikh stsenariev: ‘Vstrecha na dalekom meridiane’ M. Uilsona. RGALI, f. 2944, i. 5, d. 52.Riabov O.V. Regumanizatsiya ‘chuzhikh’: evolyutsiya reprezentatsiy ‘vraga nomer odin’ v amerikanskom kinematografe kholodnoi voiny [Rehumanization of ‘Them’: Evolution of Representations of the ‘Enemy Number One’ in American Cold War Cinema]. Dialog so vremenem [Dialogue with Time], 2021, no. 77, pp. 277-290. DOI: 10.21267/AQUILO.2021.77.77.018Riabov O.V., Belov S.I., Davydova O.S., Kubyshkin A.I., Riabov D.O., Riabova T.B., Smirnov D.G., Sputnitskaia N.Iu., Iudin K.A. ‘Vrag nomer odin’ v simvolicheskoi politike kinematografiy SSSR i SShA perioda kholodnoi voiny [‘Enemy Number One’ in the Symbolic Politics of the Cinematographies of the USSR and the USA During the Cold War]. Moscow, Aspect press, 2023. 400 p.Siefert M. Meeting at a Far Meridian: American-Soviet Cultural Diplomacy on Film in the Early Cold War. Babiracki P., Zimmer K., eds. Cold War Crossings: International Travel and Exchange in the Soviet Bloc, 1940s – 1960s. College Station, Texas A&M Press, 2014, pp. 166-209.Shaw T. The Russians Are Coming The Russians Are Coming (1966): Reconsidering Hollywood’s Cold War ‘Turn’ of the 1960s. Film History, 2010, vol. 22, no. 2, pp. 235-250.Shaw T., Youngblood D.J. Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds. Lawrence, University Press of Kansas, 2010. 301 p.‘Sorok devyat dney’. Literaturnyj stsenariy G.Ya. Baklanova, Yu.V. Bondareva, V.F. Tendryakova. Rezhisser M.I. Romm. 1-yj variant [“Forty-Nine Days.” Literary Script by G.Ya. Baklanov, Yu.V. Bondarev, V.F. Tendryakov. Directed by M.I. Romm. 1st Option]. RGALI, f. 2329, i. 12, d. 1143.‘Sorok devyat dney’. Rezhisserskiy stsenariy G.S. Gabaya po literaturnomu stsenariyu G.Ya. Baklanova, Yu.V. Bondareva, V.F. Tendryakova [‘Forty-Nine Days.’ Director’s Script by G.S. Gabay. Based on the Literary Script by G.Ya. Baklanov, Yu.V. Bondarev, and V.F. Tendryakov]. RGALI, f. 2329, i. 12, d. 1144.Statya: I.G. Erenburg ‘Noch Ameriki’ [Article: I.G. Erenburg ‘The Night of America’]. RGALI, f. 618, i. 14, d. 854.Stenogramma zasedaniya Khudozhestvennogo Soveta po obsuzhdeniyu otsnyatogo rezhisserskogo stsenariya M. Donskogo ‘Zdravstvuyte, deti!’. 12 yanvarya 1961 [Transcript of the Meeting of the Arts Council to Discuss the Filmed Director’s Script by M. Donskoy: “Hello, Children!” January 12, 1961]. RGALI, f. 2468, i. 3, d. 104.Stenogramma rasshirennogo zasedaniya partbyuro po obsuzhdeniyu otsnyatogo materiala kinofilma ‘Zdravstvuyte, deti!’. 3 noyabrya 1961 [Transcript of an Extended Meeting of the Party Bureau to Discuss the Footage of the Film “Hello, Children!” November 3, 1961]. RGALI, f. 2468, i. 3, d. 105.Stenogramma zasedaniya vstrechi s politrabotnikami Sovetskoy Armii i komsomolskim aktivom ot 28 noyabrya 1960 g. po obsuzhdeniyu filma ‘Mir vkhodyashemu’ [Transcript of the Meeting with Political Workers of the Soviet Army and Komsomol Activists Dated November 28, 1960 to Discuss the Film ‘Peace to the Enterer’]. RGALI, f. 2453, i. 4, d. 1010.Troyanovskiy V. Chelovek ottepeli (50-e gody) [Person of the Thaw (50s)]. Fomin V., ed. Kinematograf ottepeli: Dokumenty i svidetelstva. Moscow, Materik Publ., 1998, pp. 5-76.Vartanov A. Noch s effektami [The Night with Effects]. Iskusstvo kino [Art Cinema], 1962, no. 12, pp. 32-35.Woll J. Real Images: Soviet Cinema and the Thaw. London; New York, Tauris, 2000. 267 p.