The essay discusses, via the analysis the Soviet and Russian cinemaof the first half of the 1990s, the problem of adoption of a new socio-ethicalstereotype — the positive moral stereotype of an entrepreneur, a businessmanand a private property owner — in post-perestroika Russia. The scholarly noveltyof the presented study consists Pointing out that films of that period have beenmostly evaluated in a fragmented and ambiguous manner, the author analyzesthem in the context of the formation of mass representations (stereotypes andframes) of one of the period’s most characteristic social figures. The actualityof the study analysis is evidenced by the ongoing discussions about the ethicalbackground of entrepreneurship in contemporary Russia and about the natureof the 1990s. Considering this problem on the basis of a comprehensive analysisof representative films (Genius, Confessions of a Kept Woman, Limita, Ryaba MyChicken, Love the Russian Way, and others), the author concludes in 1990–1995Soviet/Russian cinema, inspired both by the inertia of the former Soviet ideasabout business and businessmen and the dramatic collisions of the first fiveyears of the post-Soviet era, did not provide the viewer with sufficient artisticarguments for the ethical rehabilitation of entrepreneurship and, therefore,failed to fix new stereotypes and instructional representations/frames in themass consciousness.