Аңдатпа
The article is dedicated to the analysis of the thematic diversity of representations of family values in Soviet animation through the identification of its systemic axiological patterns. The relevance of the work is determined by the growing interest in the issues of strengthening national cultural identity and enhancing the value content of screen arts, as well as being related to the controversial nature of the prevailing interpretations of the ideological filling of Soviet animation. The aim of the research is to identify stable value dominants in animated texts related to themes of family unity, parenthood, and moral principles of marital and intergenerational relationships. Special attention is paid to the mechanisms of artistic comprehension of family values in connection with the specifics of the value landscape of Soviet society as a whole, and the patterns of value resonance between animation and feature films are noted; the role of animation as a means of preserving and transmitting normative representations of family is also considered. The methodological basis of the work consists of cultural, axiological, and systemic approaches. Axiological analysis methods, historical-cultural, comparative, and hermeneutic methods were used to analyze the material. Soviet animation is regarded as a holistic artistic system possessing unified value patterns that cannot be reduced to the characteristics of individual periods and authorial strategies. The study established that works of Soviet animation dedicated to family themes transmit a stable set of values, including the priority of the common good over individual interest, mutual respect between spouses, equality, parental responsibility for raising children, the value of intergenerational continuity, and family solidarity. It was found that this set maintains substantive integrity throughout various stages of the development of Soviet animation and is characterized by a normative-binding nature of affirmation. A substantive-thematic classification of animated works dedicated to family relations is proposed, and the concept of "axiological universalism of Soviet animation" is introduced to interpret the Soviet animation heritage as a value archive of the era. The results obtained can be used in cultural, pedagogical, and media studies related to the issues of transmission and preservation of cultural values.