The article examines the problems of the relationship between the party and state authorities and the Soviet cinematic intelligentsia. The research focuses on the processes of control and censorship, repressive and informational and ideological impact on the largest cultural figures and workers in the film industry. It is shown that the selected chronological segment has conditionally symbolic boundaries. Conclusions are made about the functioning of the following methods and forms of control: institutional diversity, social mobilization, politicization of everyday life and media space. Their system-wide and universal-longterm, metahistorical nature of their application is substantiated. Their intensity influenced the state of modern collective / social memory and the perception of films that had a high ideological and artistic value, but indirectly contributed to the idealization of the Stalinist era in scientific historiography and public consciousness.

This article analyzes some aspects of the cultural policy of the USSR in the second half of the 1940’s – early 1950’s. One of the leading ideological campaigns is being investigated – against «formalism» in Soviet music, which is seen as a representative illustration of the enhanced use of control-repressive and administrative-regulatory technologies of «late Stalinism». The course of the campaign is traced based on the reproduction of information-political, hardware training, internal periodization and correlation with other similar actions of that time are carried out. The instrumentally localized character of the campaign, organized to achieve an instant disciplinary and intimidating traumatic effect, directed against the musical intelligentsia and its creative freedom, is shown. The author comes to the conclusion that there is a need for a delicate and balanced assessment of the «case of music-formalists». This is due to the ambivalence of this historical situation – a combination of ideological addiction and the presence of elements of objective criticism of the limits of musical and aesthetic experimentation.

The article continues the tradition of studying political control, technology and mechanisms of power, administrative methods and strategies used by the Stalinist regime in the 1920s – 1940s. The author focused on a certain aspect – "right opportunism", which is regarded as a state-political crime and a universal ideology that allowed to carry out information-cognitive "diversion", segregation of the society into "one's own" and "others". The genesis, the essence of this phenomenon in political discourse and historiography, as well as the activity of specialized structures to combat one of the manifestations of "right opportunism" – "wrecking" on the objects of the military industry. According to the results of the research, it is concluded that the "anti-damaging" campaign and the control-repressive measures applied in its methods can be viewed as a political-technological, operational and ideological-methodological foundation of the Stalinist dictatorship and the system of governance of the Soviet state.