Dynasticity and frames of the Soviet cinema discourse

The article is devoted to the consideration of the institutional conditions of the representation of professional dynasties in the film discourse and the analysis of the substantial transformation of the Soviet film discourse about professional dynasties. Cinema is considered in the work as one of the public arenas in which a particular social problem is presented by audiovisual means. To analyze the Soviet cinema discourse, the authors use the frame analysis. In the analysis of movie frames, according to the concept of D. Snow and R. Benford, it is advisable to allocate three central frames: diagnostic, prognostic and motivational ones. The empirical basis of the study was seven Soviet films, in which the phenomenon of dynasticity is present to varying degrees. The authors establish that the diagnostic central frame is represented by such categories as «personal vs public», «dynastic and nepotism»; motivational one - «pride in your work and the continuation of the family dynastic tradition, labor dynasties as the «conscience of production». The prognostic central frame is represented by two plot categories: «optimistic» (30s-60s) and «pessimistic» (70s-80s). The designation of meaningful categories of frames allowed fixing a more pronounced positivity of frame connotations in the representation of dynasties of workers and heroic professions (military), while the dynasticity of non-working professions has neutral or negative connotations.