vgikВестник ВГИКVestnik VGIK2074-08322713-2471ВГИКvgik-1003Research ArticleЭКРАННЫЕ ИСКУССТВА | ТЕОРИЯ И ИСТОРИЯ КИНООтечественная документалистика на рубеже вековRussian Documentary at the Turn of the 21st CenturyПрожикоГ. С.ProzhikoGalina201903022025112(40)2132Copyright © Прожико Г.С., 20242024Прожико Г.С.Prozhiko G.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.vestnik-vgik.com/jour/article/view/1003

В статье обосновываются творческие проблемы экранного языка отечественной документалистики на рубеже веков, производство которой протекает в условиях изменившейся системы создания и продвижения фильмов. Анализируются вопросы смены парадигмы отношений автора и героя, эволюции приемов выразительности экранного документа данного периода.

The essay analyzes creative problems of the screen languageof Russian documentaries at the turn of the 21st century in the context of thechanged system of film production and promotion, as well as the changedparadigm of relations between the author and the hero and the evolution of theexpressive methods of the documentary film which took place in that period.The essay reflects on the problems of the development of Russian documentariesat a crucial time when the issues of the survival of the documentary, so acutein the 1990s, have been overcome and are now bringing to the fore creativesearches exploring essential contemporary phenomena. The author sees theseinnovations in the new concept of the documentary hero and in the formationof other authorial tasks and techniques aimed at capturing the uniqueness ofthe philosophy of human existence in the circumstances of a new social andpsychological reality. Analysis of such films as Passengers of the Last Century,Solzhenitsyn. Life Is Not a Lie, Starling, David, Sorry for Living, Just Life, Live andRejoice and others reveals the problems of the “homo historicus”, the relationshipbetween the author and the hero, the new interrelationship between the ethicaland the aesthetic, and the specifics of a human being’s self-realization in adialogue with the author. At the same time, the essay emphasizes the continuityof the creative searches by documentary filmmakers of different generations inmastering the "human material" of the new reality

экранный документдокументалистикаязык выразительностиэтический и эстетический ракурс документальных фильмовконцепция документального герояdocumentaryexpressive languagedocumentary filmethical and aesthetic perspectivesthe concept of the documentary hero UDC 778.5.03.0+778.5.03.071:1+778.5.03р_(09) Galina S. Prozhiko Doctor of ArtsProfessorVGIK Russian Documentary at the Turn of the 21st CenturyReferencesПосле взрыва. Документальное кино 90-х. М.: Андреевский флаг, 1995.Posle vzryva: Dokumental'noye kino 90-kh [After the explosion: Documentary filmПрожико Г.С. Концепция реальности в экранном документе. М.: ВГИК, 2004.of the 90s]. Moscow: Andreyevskiy flag, 1995.Прожико Г.С. Концепция общего плана в экранном документе. М.: Институт повышения квалификации работников телевидения и радиовещания, 2002.Prozhiko G.S. (2004) Kontseptsiya real'nosti v ekrannom dokumente [The concept of realityin a screen document]. Moscow: VGIK, 2004. (In Russ.).in a screen document]. Moscow: VGIK, 2004. (In Russ.).Prozhiko G.S. (2002) Kontseptsiya obshchego plana v ekrannom dokumente [The conceptProzhiko G.S. (2002) Kontseptsiya obshchego plana v ekrannom dokumente [The conceptof a general plan in a screen document]. Moscow: Institut povysheniya kvalifikatsii rabotnikovof a general plan in a screen document]. Moscow: Institut povysheniya kvalifikatsii rabotnikovtelevideniya i radioveshchaniya, 2002. (In Russ.).televideniya i radioveshchaniya, 2002. (In Russ.).

The authors declare that there are no conflicts of interest present.