The article is written within the framework of a broader study investigating school and university representation in the Soviet/Russian and foreign audiovisual media texts. The research outlines that in Soviet cinema the image of the female teacher was transformed in the following sequence: a heroine-revolutionary; a heroine of hard work; an intellectual; an educator-innovator; a victim; a bureaucrat-administrator. In the Soviet audio-visual texts of the 1930s-1940s, the heroic image of a teacher-fighter for revolutionary ideals ("Alone," 1931), which gradually softens, acquires the aspect of labor heroics ("The Village Teacher," 1947). Teachers become good-looking, attractive ("The Village teacher, First-grader"). The cinema of the Stalin era is characterized by the image of the teacher as an indisputable perfection, the embodiment of tranquility and justice. The theme of motherhood for female teachers in Soviet/Russian cinema is either not raised at all, or is sublimated into maternal care as a quality characteristic of a woman in general, revealing the essence of the heroine, but directed not at her own child, but at a pupil. Often screen teachers are childless women with a failed personal life, single mothers, or mothers who conceal their motherhood. The image of the male teacher was transformed in the Soviet/Russian cinema in the following way: the ideological organizer of the labor commune; a teacher by vocation, an enthusiast; an intellectual-humanist; a loser who finds himself at school due to unfortunate circumstances; an idealist, an ascetic, a self-sacrificing teacher, first and foremost a professional in his field. In Soviet cinema, for many years, the masculine image of a teacher-the creator of a new man worthy to live under Soviet power-was being formed. In perestroika and in the Russian periods, images of male teachers, who have not found another road in life, began to appear on the screen more often. For all that, it is with the male teacher that the theme of innovation in education is connected in feature and documentary films, although this aspect is rarely shown on the big screen.