The parasocial relation is a reality of interaction of the communica-tor, integrated into a complex media structure, and of his fans. The relationshipbetween them are regulated not by a mutuality of rights and obligations. The filmstar as a communicator addresses a (de facto) anonymous audience. At the sametime the former’s message is received, pondered upon and mastered individuallywhich engenders the spectator’s impression of a face-to-face interaction. In thecapacity of a film star the given actor comes on as a good virtual acquaintancefor a large number of the audience, kindred to them in spirit, bringing out theiramicability, a desire to become actually acquainted. In pursuit of commercialgoals, the film industry purposefully constructs and utilizes this feature of anactor. Fielding itself on the screen in a specific social role, the film star — thanks tothe fans’ parasocial relation to it — promotes for the mass consciousness behaviorpatterns, norms and values of the given society that are embodied in it. The articleadduces sociological evidence for the transplantation — in the transit period ofthe 1990s — into young Russians’ mass consciousness of values disseminated byWestern cinema. The film star also constitutes a factor of the competitiveness ofa given cinematography on a given spectator market. In this regard the Russiancinema loses to Hollywood on its home market. As a sociological study has shown(the city of Kirov, 2016), Russian-filmgoer rating of stars is headed by Americanmasters: Johnny Depp with 60% of the spectator «votes»; Leonardo Di Caprio —58%; Anjelina Joli — 56%. The top three of Russian actors noticeably lag behind:Sergey Bezrukov — 55%, Daniil Kozlovsky — 44%; Konstantin Khabensky — 43%.