Extending the expressive means of film music. A search for new models of stylistic interaction between music and the other components of screen synthesis.
The 1970s were marked by the increased attention given by artists to moral problems, to eternal philosophical questions about the meaning of man's existence, the purpose of personality, its relations with society and the state, and on truth in the modem world, which seemed full of unsolvable contradictions. These years coincided with the beginning of director's coliaboration with young composers, with the appearance of new leaders and changes in artistic orientations. As before, the arrival of new musicians in the cinema can be accounted for by prosaic rather than creative reasons. One should not be surprised that the most talented, who made a great contribution to Soviet film music in the 1970s-1980s, started working in the cinema only because they had got onto the 'black list of the politically unreliable' because of their adherence to 'bourgeois', 'modernist' trends. These included, according to the ideological censors of the time, avant-garde, dodecaphonic, and electronic music.