Transformation of Masculinity in the Russian Cinema

The article discusses the issues of gender identity and the crisis of masculinity in the Soviet and post-Soviet cinema in comparison with Western films. Social instability becomes the basis for rethinking cultural identity and expanding the typology of masculinity. This imbalance is most clearly visible in the cinema, which is a beneficial environment for actualizing problematic socio-cultural issues and forming some gender stereotypes and normative behaviors that later enter everyday reality. Following the West, the Russian cinema also focuses on the substantive side of the concept of “masculinity”, which is based on the specifics of national identity, traditional goals and social foundations. It is significant that the hegemonic masculinity characteristic of the Western cinema was not basically common in the Soviet era, whose masculinity model was the image of a leader, a worker, and, in the post-war period, a front-line soldier. The collapse of the Soviet Union and the beginning of capitalist relations in Russia caused the overthrow of former cultural values and the crisis of Soviet identity. The suppression of the male characters’ “sensitivity” was replaced by a total emancipation and sexuality, which can be witnessed in the abundance of scenes of a sexual nature in the films of the 1990s. However, in the post-Soviet cinema, the focus on the values of Western culture, in which a crisis of masculinity was already evident, stimulated the interest in the Russian image of masculinity, which initially manifested itself in romanticizing the image of a “fair gangster,” and later — in the appeal to traditional Russian and Soviet heroes. Since the 2010s, the glorification of the Russian criminal past has declined, opening the space for the emergence of new types of Russian masculinity. The general context of these transformations is represented by the changes of masculinity from the Soviet traumatic, through the post-Soviet (crisis) to the contemporary one.