European Researcher. Series A

4-13

Authors: Ol'ga Yu. Larionova

The study is devoted to the reconstruction of the business and private life of the Sloboda burghers and Sarapul merchants Onchukov-Anchukov, subsequently assigned to the petty-bourgeois estate of the Sarapul city, who lived in the Votkinsky factory of the Sarapulsky district of the Vyatka province in the XIX – early XX centuries. The last known representative of this family in the Soviet years, Mikhail Nikolaevich Onchukov (1883–1952), worked as a chemistry teacher at school No. 3 and the Votkinsk Engineering College. The study was carried out on the basis of archival documents that were first put into circulation, as well as tombstones of members of this family found at the Nagorny cemetery of Votkinsk. It turned out that the surnames Onchukov, Anchukov and Anchugov belonged to the same family, and the “floating” letters in the spelling of the surname appeared as a result of its perception by the ear of scribes. It was also possible to identify houses in Votkinsk that belonged to this large family. There is a two-storey stone house on Lenin Street in Votkinsk, lavishly decorated with brickwork and recognized as an architectural monument of regional significance as the “Onchukov house”, which was built in the last quarter of the XIX century. The article provides data on the first owners of the house – officials of the Votkinsk plant and documents allowing to increase the age of the house to the middle of the XIX century. The family of the owner of the largest leather enterprise in the Votkinsk factory, Nikolai Ivanovich Anchukov, purchased the house no earlier than 1897.

25-30

Authors: Alexander Fedorov, Elena Kornienko

Based on a content analysis (in the context of historical, sociocultural and political situation, etc.) of texts published during the Thaw in the Soviet Screen magazine (1957–1968), the authors concluded that an important role in this publication was played by ideologized articles that emphasized criticism of bourgeois cinema and its detrimental influence on the audience, Not all of the magazine's authors directly sought to publish ideologically oriented articles, but it is possible to identify a small but consistently engaged group of film scholars and critics who consistently opposed the negative effects of bourgeois (and in particular Western) cinema on their audiences and defended Marxist-Leninist approaches to the analysis of the film process. After the Prague Spring events, however, the authorities decided that the journal's ideological position was not sufficiently counter-propagandistic, and a harsh campaign was unleashed against Soviet Screen in Ogonyok, which always maintained a political mainstream position at the time. In the end, the editorial board of Soviet Screenmanaged to persuade the "higher authorities" that the ideological course of the journal would be changed in the direction desired by the power, and (unlike the editorial board of Cinema Art, which was similarly criticized in 1968), editor-in-chief D. Pisarevsky managed to keep his position. Thus, the level of ideologization of Soviet Screen materials was elevated and in a number of articles was no different from Soviet Communist Party publications.