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One of the most important infrastructure components of the state’s economy is the road network. The practice of assessing the effectiveness of the use of budget allocations of the Federal Road Fund, has been examined. It has been identified, that the evaluation of the effectiveness of budget expenditures is carried out by road funds. It has been concluded, that there is an absence of an objective evaluation system, and there are no requirements for the effective use of budgetary allocations. A proposal to create a comprehensive system for assessing the effectiveness of the use of budget funds has been formed. It has been proposed to use the following methodological approaches: program and stock. As a result of a technique approbation it has been revealed, that the efficiency of the use of budget allocations decreases.

The article discusses issues related to international hire of domestic cinema in the period of Stagnation, as well as procurement policy in the field of cinema. These issues were dealt with such organization as «Sovexportfilm». This period is characterized by a number of difficulties in the field of export-import relationship, caused by the reasons of objective nature (for example the «Сold war» between the USSR and the USA), and the subjective relevance to the problems within the Soviet film industry (the decline of the artistic and technical level will domestic movie).

The article discusses the activities of a producer of the animated film stage on the preparatory period. Considered such aspects as the idea, develop the concept, its visualization, search buyers, work on script, develop a production plan, budgeting, ensuring protection of materials against piracy. The article explores the relationship of the producer with other representatives of the audiovisual business, in particular with customer entertainment products, as the establishment of these linkages is very important on the preparatory period. Provides documentation compiled by the producer at the time.

The article discusses the process of expanding the scope of television production and, later, video, and, as a consequence of this process, the fall of kinodocument in the era of Stagnation. While the quality of television films in the 1970s, has grown, the quality of films has steadily declined. In this regard, the audience gradually refocused his attention from the big screen to television. In the 1970s movie sociology had been intensified. Sociologists tried unsuccessfully to solve the problem of the fall of kinodocument. Soon the cinema have got another competitor - video. This further exacerbated the problems of the movie. Income from box office had been steadily declining, reaching a critical minimum, on the eve of restructuring.

In the article the questions of distribution and right of Soviet cinema in the 1970's - early 1980-ies. The author examines the repertoire policy, the issues associated with the construction of cinemas, the state cinema, the issues of kinesiology and kinodocument. As discussed in the article the period is not accidentally entered into the history as the period of "stagnation", the author focuses on the theme of "stagnation" in Soviet cinema and tries to find its causes. In this regard, the main emphasis to work done on problems in the field of cinema, which led to the fall of kinodocument.

The article deals with the repertoire policy of Soviet cinema in the 1970's - early 1980-ies. By studying such aspects as genre and thematic range, the plots, the characters, etc., the author tries to reveal the relationship between changes taking place in society at the time, and cinema as a repeater these changes. In particular, the strengthening of censorship in the era of stagnation leads to the fact that the vast majority of directors "breaks" under the weight of the system and continues to work by inertia - in the space of canonical Communist ideas and the Soviet conception of life. These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. Largely for this reason, in the 1980-ies our movie will be in poor condition.

The article discusses the process of the fall of cinema attendance that took place in Soviet cinema in the 1970's - early 1980-ies. The author examines the causes of this negative tendency and the measures that took the leaders of the Soviet cinematography and the filmmakers to eliminate this problem. The article contains the questions of cinema sociology, movie rental, repertoire policy.

The concept and the main directions of methodology of development of the organizational and economic mechanism of business management of mechanical engineering on the basis of reserve and factorial approach is proved. Teoretiko-methodological approaches to ensuring effective functioning and a sustainable development of the enterprise are specified.

The article discusses issues related to international hire of domestic cinema in the period of Stagnation, as well as procurement policy in the field of cinema. These issues were dealt with such organization as «Sovexportfilm». This period is characterized by a number of difficulties in the field of export-import relationship, caused by the reasons of objective nature (for example the «Сold war» between the USSR and the USA), and the subjective relevance to the problems within the Soviet film industry (the decline of the artistic and technical level will domestic movie).

The article discusses the process of expanding the scope of television production and, later, video, and, as a consequence of this process, the fall of kinodocument in the era of Stagnation. While the quality of television films in the 1970s, has grown, the quality of films has steadily declined. In this regard, the audience gradually refocused his attention from the big screen to television. In the 1970s movie sociology had been intensified. Sociologists tried unsuccessfully to solve the problem of the fall of kinodocument. Soon the cinema have got another competitor - video. This further exacerbated the problems of the movie. Income from box office had been steadily declining, reaching a critical minimum, on the eve of restructuring.

The article discusses the process of the fall of cinema attendance that took place in Soviet cinema in the 1970's - early 1980-ies. The author examines the causes of this negative tendency and the measures that took the leaders of the Soviet cinematography and the filmmakers to eliminate this problem. The article contains the questions of cinema sociology, movie rental, repertoire policy.

The article deals with the repertoire policy of Soviet cinema in the 1970's - early 1980-ies. By studying such aspects as genre and thematic range, the plots, the characters, etc., the author tries to reveal the relationship between changes taking place in society at the time, and cinema as a repeater these changes. In particular, the strengthening of censorship in the era of stagnation leads to the fact that the vast majority of directors "breaks" under the weight of the system and continues to work by inertia - in the space of canonical Communist ideas and the Soviet conception of life. These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. Largely for this reason, in the 1980-ies our movie will be in poor condition.

In the article the questions of distribution and right of Soviet cinema in the 1970's - early 1980-ies. The author examines the repertoire policy, the issues associated with the construction of cinemas, the state cinema, the issues of kinesiology and kinodocument. As discussed in the article the period is not accidentally entered into the history as the period of "stagnation", the author focuses on the theme of "stagnation" in Soviet cinema and tries to find its causes. In this regard, the main emphasis to work done on problems in the field of cinema, which led to the fall of kinodocument.

The article discusses the activities of a producer of the animated film stage on the preparatory period. Considered such aspects as the idea, develop the concept, its visualization, search buyers, work on script, develop a production plan, budgeting, ensuring protection of materials against piracy. The article explores the relationship of the producer with other representatives of the audiovisual business, in particular with customer entertainment products, as the establishment of these linkages is very important on the preparatory period. Provides documentation compiled by the producer at the time.

The concept and the main directions of methodology of development of the organizational and economic mechanism of business management of mechanical engineering on the basis of reserve and factorial approach is proved. Teoretiko-methodological approaches to ensuring effective functioning and a sustainable development of the enterprise are specified.