The aim of this work is to study Soviet and American film policy at the initial stage of the «Cold War». The source base consists of original, first introduced into academic circulation or little-known archival data — paperwork, organizational and administrative documentation, as well as audiovisual materials, media texts — motion pictures. The theoretical and methodological basis of the study was composed of comparative-historical, historical-genetic and historical-typological methods, the principles of historicism, scientific objectivity. It is concluded that the cinematic «hyperreality» and its media-textual, imagological discourse, refracting through the prism of political and ideological coordinates and attitudes, was the leading tool for the formation and structuring of collective memory, ideas about «friends» and «strangers» and other commemorative constructs.
Key words: «Сold War», discourse, media-text, film policy, Soviet and American cinema, imagology.