Animadoc has become a phenomenon of post-digital culture.Such films are created by means of animation, but their stories are based ondocuments, facts, and real events. Synthetics, the use of images of varyingdegrees of iconic isomorphism are typical for animadoc. The problem ofclassifying animated documentary arises from its hybrid nature, resulting fromthe combination of documentary content and fictional form.For the first time, there are three main tendencies of research in the sphereof animated documentary based on the analysis of the corpus of scientific texts.The first tendency views the animated documentary as a genre or formof performing documentaries. The advent of digital technologies broughtabout a fundamentally new understanding of documentary, rethinking theconcept of authenticity, reality, screen document. Subjective and performancetendencies are becoming more prominent in documentaries. This makes itpossible to legalize documentary animation with its reconstructive, reflective,and interpretive constituents.The second tendency looks upon animadoc as a genre or a new kind ofanimation. It expands the thematic boundaries and visual means of animation.It goes beyond its traditional areas. Animation is no longer considered a toolintended solely for the presentation of fantastic and fairy-tale worlds and thespace of children's imagination.The third trend in research considers animated documentary a hybrid,experimental form of supersensory visuality, representing invisible areas ofreality, as an optical practice and a form of alternative vision, which instead ofthe surface focuses on the "folds", the zones of concealment and ellipsis.This tendency makes no emphasis on the specific and genre differences.What matters is how animadoc builds new forms of communication andbecomes a new type of observation. The socializing and therapeutic functionsof animadoc are emphasized, and it begins to be understood as a form of screenmedia of post-digital culture.