The authors carry out a study of the influence of various factors on the content of Russian federal channels. Using content analysis of the broadcast data were obtained to identify the influence of factors, characteristic for the stage of formation of a consumer society in Russia on the content of television channels and the analysis of conformity of telecasts the authors developed, criteria that have been formed and considered together with current trends in society related to the digitalization processes, and preferences of Russians. Television is an important social institution that should not only reflect the current situation in society, but also broadcast certain behaviors, culture and values. Television content requires a lot of attention, because now there are significant changes in the individual in the new conditions of digital communication. Modern television content should move away from the simple model of mass culture, which is based on a standardized approach based on entertainment content. Content should take into account modern consumer values.

The article provides a brief overview of the emergence of the legal market of online cinemas in Russia. The paper reveals that the Governments of many countries have a national policy that is aimed at maintaining internal programming on traditional video platforms. Such policies range from licensing, which requires serving the “public interest” and defines rules for the distribution of certain types of content produced domestically, to requiring content distributors to contribute to the financing of the production of domestic content. The authors investigate that during the implementation of these rules, the Russian government decided on the allocation of limited resources. There was also regulation on whether platforms can solely decide what content to offer their users, or whether viewers should also participate directly. The study concludes that the transition from traditional platforms to online distribution can reduce the effectiveness of existing regulatory regimes and deprive traditional platforms of audience and revenue.The world and Russian experiences of using the Internet prove that today modern information and telecommunications technologies can contain real threats to the violation of fundamental rights and freedoms of citizens, as well as to question the security of society and the state. The only exceptions are progressive or innovative areas related to the provision of new services and the expansion of opportunities for socio-economic development.As a result of the study, the paper identified four problems of Russian film distribution on digital platforms. The authors chose piracy as the first problem of online cinemas. Pirate sites not only illegally copy content from online movie theaters, but they also create copies of their own services to transfer their servers to another platform in case of blocking. The second problem was highlighted by the requirement for foreign owners. The third problem was highlighted by the high cost of online movie theater subscriptions. The authors consider the fourth problem the lack of financial support from the state.

The article considers the problems of ontologization of mental representations of a certain field of activity and the corresponding subject area for the purposes of management automation. For the first time, the authors raise the question about the need to include mental representations of the sphere of activity that the subject area reflects in the ontology of the subject area. Ontologization of mental representations is necessary to identify the participants' understanding of their actions, which will change approaches to management, and for deep training of artificial intelligence in order to transfer part of its management functions to it. On the basis of connectionist approaches to understanding thinking, the paper considers the processes of forming mental representations and changing their attributes. The article gives a new definition and typology of mental representations.

The article considers approaches to the state regulation of digital film distribution, evaluates them. The paper generalizes them in the form of proposals for anti-piracy regulation, promotion of original content of online cinemas in international markets, as well as for effective interaction of online cinemas with the Ministry of Culture and the Cinema Foundation. This will resolve the issue of serious competition to traditional cinemas, since the viewer has the opportunity to watch their favorite films without leaving home, and also related to the start of work on their own exclusive content of a large number of digital platforms. The state obliges digital platforms to provide information about the number of views of their content in a single automated information system. This information helps to assess the effectiveness of budget support for cinema, since there are examples of films that did not collect a large box office at the box office but were able to gain more than one million views on the Internet.

Recently, there has been an increase in the number of companies seeking to create digital platforms. Developing and investing in their own original content has opened up the opportunity for Russian services and companies to promote it on foreign platforms, gaining access to new markets and increasing attractiveness for potential foreign investors. The cultural content transmission works on the principle of streaming, which continuously delivers individualised information to the user via the Internet. Domestic OTT services, unlike TV channels, have not yet decided on their positioning. Platforms do not focus on individual segments, but on a variety of content that has a potential viewer. This strategy is aimed at attracting the maximum number of new subscribers. The emergence of streaming services has brought with it new opportunities for producers from various countries. In order to effectively promote audiovisual content, the authors justified and selected criteria for conducting a comparative analysis of mechanisms for promoting audiovisual works on foreign OTT services so that the company could choose the most appropriate one for itself.