 These commisars were people who, 90% of the time, had no connection not only with the cinema, but also with culture; people who did not even have a middling amount of preparation, who came from all sorts of unrelated fields and who themselves in discussions labelled film as "a pipe dream".At least in the distribution networks, the directors of the cinematographic enterprises, at first regional, then county-wide, were activists who at a certain point in time were determined no longer to be able to carry out the "exigent demands" of Party work.Still, the real purpose for which these cadres were put into place is that suggested above.