The paper deals with political dimension of masculinities created in a Soviet blockbus-ter “The White Sun of Desert” (1970). The first section of the paper dwells upon the film cha-racters’ masculinity in the context of cinematic Cold War. The next section focusses on contemporary Russians’ perception and evaluation of this masculinity. The final section discusses how these cinematic images are involved in contemporary symbolic politics. The author points out that the symbolic capital of these images are employed in forming the hegemonic masculinity of the Post-Soviet Russia — that of the “real muzhik” that in its own turn contributes to legitimation of power and its domestic and foreign policy.
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