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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.69975/2074-0832-2025-66-4-80-91</article-id><article-id custom-type="elpub" pub-id-type="custom">vgik-1197</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>СОВРЕМЕННЫЙ КИНОПРОЦЕСС</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>MODERN FILM PROCESS</subject></subj-group></article-categories><title-group><article-title>На перепутье (документальный экран конца первой четверти нового века)</article-title><trans-title-group xml:lang="en"><trans-title>At the Crossroads (Documentary Screen at the End of the First Quarter of the New Century)</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><contrib-id contrib-id-type="orcid">https://orcid.org/0009-0009-7229-6537</contrib-id><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Прожико</surname><given-names>Г. С.</given-names></name><name name-style="western" xml:lang="en"><surname>Prozhiko</surname><given-names>G. S.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Галина Семеновна Прожико</p><p>доктор искусствоведения, профессор, профессор кафедры киноведения</p><p>129226, Москва, ул. Вильгельма Пика, 3</p><p>AuthorID: 415109</p></bio><bio xml:lang="en"><p>Galina S. Prozhiko</p><p>Dr. Sci. (Art History), Professor of the Cinema Studies Department, Russian State University of Cinematography n. a. S.A. Gerasimov (VGIK). </p><p>3 Wilhelm Pieck Str., Moscow, 129226</p><p>AuthorID: 415109</p></bio><email xlink:type="simple">galina.prozhiko@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Всероссийский государственный университет кинематографии им. С.А. Герасимова (ВГИК)</institution><country>Россия</country></aff><aff xml:lang="en"><institution>S.A. Gerasimov Russian Federation State University of Cinematography (VGIK)</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2025</year></pub-date><pub-date pub-type="epub"><day>19</day><month>12</month><year>2025</year></pub-date><volume>17</volume><issue>4(66)</issue><fpage>80</fpage><lpage>91</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Прожико Г.С., 2025</copyright-statement><copyright-year>2025</copyright-year><copyright-holder xml:lang="ru">Прожико Г.С.</copyright-holder><copyright-holder xml:lang="en">Prozhiko G.S.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/1197">https://www.vestnik-vgik.com/jour/article/view/1197</self-uri><abstract><p>В статье анализируются итоги развития отечественного документального кино на рубеже первой четверти ХХI века. Основное внимание отдано рассмотрению преобладающих тематических и творческих ориентиров документалистов, отражающих новые процессы в социуме, а также способам авторской трактовки этих новых тенденций. Изменение связи человека и социума в обществе меняет и ракурс интереса кинематографистов как к обновлению творческой технологии запечатления реальности, так и авторской структуры фильма.</p></abstract><trans-abstract xml:lang="en"><p>The article analyzes the key take-aways of the national documentary cinema at the end of the first quarter of the ХХI century. The primary focus is on examining the predominant thematic and creative reference points for documentary filmmakers, which reflect new developments in society, as well as on the methods chosen by the authors for the interpretation of these new trends. The changing relationship between the individual and society alters the filmmakers’ approach both to the reinvention of creative techniques for capturing reality and the authorial structuring of the film.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>достоверность</kwd><kwd>экранный язык документального кино</kwd><kwd>жанровые формы</kwd><kwd>авторское самосознание</kwd></kwd-group><kwd-group xml:lang="en"><kwd>authenticity</kwd><kwd>the cinematic language of documentary</kwd><kwd>genre forms</kwd><kwd>authorial self-awareness</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Проблемы жанрообразования в современном экранном искусстве: культурная глобализация и национальный менталитет / отв. ред. и сост. В.Ф. Познин. СПб.: РИИИ, 2023. 372 с.</mixed-citation><mixed-citation xml:lang="en">Poznin, V.F. (ed.) 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(In Russ.).</mixed-citation></citation-alternatives></ref></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
