This essay explores the "New Soviet Cinema" in the 1960s, the First Thaw called and map it with social, political and artistic context. The most important point of the 1960s Soviet Cinema is its unequal, opposite, different complex layers. After Post-Stalin era, many soviet filmmakers tried to change their cinema through different ways against the party`s official aesthetics, the "Social Realism". The "Powers" wanted to change and the "Place" where the powers were clashed, were the "New Soviet Cinema" itself. It`s able to be distinguished by four "Habitus" theorized by Pierre Bourdieu in the 1960s Soviet society; the "Official Brezhnevian", the "Neo-Stalinist", the "Neo-Leninist", the "Russophile". The most important battle of "Habitus" during this period was between the last tow Habitus. Mapping of the New Soviet Cinema in the 1960s is a meta-text that describes conflicts and crashes of four soviet`s Habituses in 60`s that were formed through their characters and unconsciousness of the class, geographical position, educational background, habit and custom in the private area. This discusses those aspects of "Habitus", "Champ" and "Symbolic Violence" with texts, the New Soviet Cinema in the 1960s.