Artistic transformations of the image of father in the Ukrainian cinema during the Stalinist era

The purpose of the article is to study the peculiarities of artistic interpretations of the image of father in Ukrainian cinema during the Stalinist era, with special attention to the socio-cultural and political factors of the period, which fundamentally influenced the trends in the interpretations of the screen image of father. The methodology. On the example of the films “Ivan” (1932), “Wonderful Garden” (1935), “Aerograd” (1935), “Guerillas in the steps of Ukraine” (1942), “Third strike” (1948) historical factors were analyzed that fundamentally determined the peculiarities of the screen character of father during the years of Soviet repressions. In the article, a definition of the concept of paternalism in the context of the theory of law and statecraft is provided. Also in the article Ukrainian films of the Stalinist era were studied, in which the paternal concept “The state is father of its citizens” was fully manifested. Socio-cultural analysis of films, in which the figure of the genetic father was relegated to the background by Soviet ideology, and the role of the main educator of children was taken over by representatives of the Russian imperial authorities, was carried out. The paternal figure is considered in the broadest symbolic context — when the paternal role for a citizens can be played by an entire social institution or the apparatus of state power. The results. The period of Joseph Stalin turned out to be one of the most difficult in Ukrainian history. In those years, the Ukrainian nation faced numerous political cataclysms: industrialization, the Holodomor, deportation to remote regions of the USSR, repressions and World War II. However, the cinematography presented a completely transformed picture of reality, according to which the Bolshevik government was a kind and caring father for Ukrainians, but not a cruel tyrant. Nevertheless, even in such a tragic historical period, national directors were able to reflect in propagandistic films the longing of Ukrainian society for the traditional family system, and by biological parents in particular. The scientific novelty. The main attention is focused on the essential characteristics of the archetypal image of father and it makes it possible to analyze many Ukrainian classic films in a new scientific context. The practical significance. The article can contribute to further research in the field of several humanitarian disciplines: film studies, cultural studies, art studies, sociology and History of Ukraine.