Presentation on social studies on the topic “The role of the media in political life” (grade 11). Documentaries on Russian television

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Goals and objectives: 1) introduce the role of the media in political activity, show the features of various types of mass political information, the mechanism of political manipulation and its consequences, develop practical recommendations for resisting voter political manipulation using the media 2) develop the ability to carry out information search, analyze, draw conclusions, rationally solve cognitive and problematic problems, reveal the most important theoretical positions and concepts of the social sciences and humanities using examples, participate in discussions, work with documents; 3) to form an attitude towards the influence of the media on the minds and hearts of people.

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Lesson plan for media in the political system of society. 2. The nature of the information disseminated by the media. 3. The influence of the media on the voter.

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Questions and tasks for the first group 1. What is another name for the media? Why? 2. How do political scientists interpret the concept of “mass media”? 3. Do you agree with this interpretation? Give reasons for your opinion. 4. What functions do the media perform in politics? 5. Who and how brings freedom of speech to the masses? 6. Assess the role and influence of the media in society and in its political life. When answering, rely on examples. 7. What is the relationship between the state and the media? 8. Trace the role and influence of the media in various political regimes. Do you think this is a natural phenomenon? Why? 9. What influence does the media have in modern developed democratic countries? Give reasons for your opinion.

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Questions and tasks for the second group 1. What kind of information is conveyed by the media? Is it good or bad? 2. How has the nature of documentary filmmaking changed? Why? Do you agree with this choice of gears? Why? 3. Why have historical documentary programs become so popular? Isn't this a denigration of history? Express your position on this issue. 4. What general principles have media researchers identified that guide the media when choosing topics for their publications and broadcasts? 5. How does radio differ from television in the presentation of information? 6. Why did television become so popular in the 20th century? 7. How is the political life of our society reflected in the media? Are you satisfied with this state of affairs? 8. Evaluate entertainment media programs. Give reasons for your opinion. 9. Why, despite the enormous popularity of television and radio, has the printed word not lost its appeal? 10. What is political manipulation? Describe its mechanism. 11. Describe the prospects for the development of the media.

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Lesson summary - Imagine that you are present at a meeting of a discussion club where the topic “The role of the media in the political life of society” is discussed. What position would you take? Why? - Is it possible to limit freedom of speech? Give reasons for your opinion.

"Documentary cinema is a type of cinematography. A documentary is a film based on the filming of real events and people."

Reconstructions of true events do not belong to documentary films. However, documentary works can use both fragments of feature films, as well as dramatizations, provocations, and other production elements invented specifically for the occasion.

“The term “documentary” in relation to this genre/type of film was first proposed by John Grierson in the 1920s. Before that, French journalists and critics called films made from travel film materials that way. Grierson defined documentary film as "creative development of reality."

"The objectives of documentary filmmaking:

1. Educational medium (otherwise known as “educational films”)

2. Research (geographical, zoological, historical, ethnographic, etc.)

3. Propaganda (science, product, technology, religion, etc.)

4. Chronicle (long-term observation of an event, reporting, etc.)

5. Journalism"

The first documentary filming was made at the birth of cinema. The topics for documentaries most often include interesting events, cultural phenomena, scientific facts and hypotheses, as well as famous people and communities. Masters of this type of filmmaking often rose to serious philosophical generalizations in their works

Documentary cinema is a complex genre, preparation and work on which takes a long time: life and documentary material is selected, on the basis of which a script is created.

“A documentarian, unlike a master of feature films, does not need to invent plots and characters, write dialogues, he, as a rule, does not need actors, makeup and decorations: his material is life itself. And this life gives moments that can amaze, shock, to express big ideas and feelings - you just need to be able to wait for this moment, see it and “capture” it with the camera in time.”

The director always faces the question: how to present the collected material to the viewer. In other words, the director is looking for a form to present his future film. The form can be different: a hero’s story, diary entries, the story of one day, and so on.

Event as the basis of documentary

The tragedy of September 11, 2001 changed the world. The most influential, ambitious, talented documentarians and journalists tried to figure out who is really to blame for the fall of the World Trade Center towers.

The peak of creative activity fell in 2006. This is due to the fact that the first wave of shock has passed, official comments and alternative versions began to appear.

The official version goes like this: on the morning of September 11, 2010(?), nineteen terrorists related to al-Qaeda, dividing into four groups, hijacked four scheduled passenger airliners. Each group had at least one member who had completed basic flight training.

"The hijackers flew two of these planes into the World Trade Center towers located in the southern part of Manhattan in New York. American Airlines Flight 11 crashed into the WTC 1 (north) tower, and United Airlines Flight 175 crashed into the WTC 2 tower ( southern) As a result, both towers collapsed, causing serious damage to adjacent buildings. The third plane (American Airlines Flight 77) was sent to the Pentagon building, located near Washington. Passengers and the crew of the fourth airliner (United Airlines Flight 93) tried to take control of the plane. terrorists, the plane crashed in a field near the town of Shanksville in Pennsylvania."

As a result of terrorist attacks, 2,977 people were killed and another 24 were missing. Most of the dead were civilians.

This interpretation of events was criticized by a number of journalists, scientists and witnesses to the tragedy. Many residents of America and other countries still have a hard time believing that the planes were sent to skyscrapers by terrorists, and not by government collaborators.

“Rumors are still circulating in society that the dramatic events of six years ago are nothing more than one of the fragments of the conspiracy theory of those in power.

Almost one and a half hundred experts who were part of the special group came to a consensus that the World Trade Center towers did not collapse due to the ramming of airliners."

In their opinion, the catastrophic collapse of the twin towers was a “prepared dismantling” using explosives, and not a direct consequence of the ramming of the buildings by two suicide planes.

Experts supported their sensational conclusions with a detailed analysis of photographic and video materials and numerous eyewitness accounts.

1. Pre-television stage

Despite the fact that the first television broadcasts began in the USSR in the 30s, the story about television documentary should begin with the name of Dziga Vertov (real name Denis Kaufman, 1896-1954), who already in the 20s declared in his theoretical and practical works on many television principles.
The “telegenic” nature of Vertov’s concept of “cinema truth” is noted in their studies by many scientists, including R. A. Boretsky, L. M. Roshal, S. A. Muratov, L. Yu. Malkova. Vertov's theoretical postulates were associated with the search for new methods of filming and editing, new methods of organizing filmed material that would reveal reality in its true manifestation. The basis of Vertov’s theory was direct reportage, which freed documentary images from premeditation and showed “life as it is.”
Conceived by Vertov in the 1920s, a film analogue of a newspaper - the film magazine "Kinopravda" - marked the beginning of the periodicity in documentary cinema that characterizes most television documentaries today. “The term “film magazine” came along with the Parisian chronicle, repeating the semantic shift in Russian of the French “journal” - which in the original meant, after the diary, a daily newspaper (jour - day)”18. Each issue of Kinopravda, published over two years from 1922 to 1924, featured several stories about modern life, united by a common theme. Moreover, each issue had its own artistic solution depending on the nature of the events it was talking about. Another of Vertov’s film magazines, “Film Week,” which appeared in 1918, is also known. The magazine, as the name suggests, was published once a week, the issue consisted of 10-12 stories, and the leading topic was military. The compilers of the directory “Filmmakers from A to Z” cite about 90 titles of film magazines that existed in different years. Today, news releases are closest to this genre, albeit in a greatly modified form.

In addition to such television features as reporting and periodicity, Vertov’s documentaries open up the concept of “synchronicity” for the first time. By using a synchronous camera to record an episode with a short monologue by the concrete worker Belik, Dziga Vertov forever refuted the judgments of critics who denied even the possibility of recording genuine sound outside the studio. Today, “sync” (in television jargon meaning an audio quote, the voice recorded on videotape of a person in the frame) is the most popular unit of television information, without which almost no television genre can do.
Dreaming that Kinogazeta would be “a review of the world every few hours of time,” Vetrov wrote about the following necessary conditions: “a permanent staff, local correspondents, means of maintaining them, means of transportation, a sufficient amount of film, the ability to practically communicate with abroad"19. As S. A. Muratov notes in his book “The Biased Camera,” the methods that Vertov developed in theory and tried to implement in practice were far ahead of the technical production capabilities that Soviet cinema possessed at that time. L. Yu. Malkova, mentioning Vertov’s notes “On the organization of a technical laboratory,” also comes to the conclusion that “the tasks set by Vertov were fully realized only on television, armed with video”20.
Another important discovery was made at the end of the 1920s by Esther Shub (1894-1959). It was she who first showed in her film “The Fall of the Romanov Dynasty” (1927) that previously filmed documentary footage, when placed in a different context, takes on a completely new meaning. Thus, by juxtaposing in the film footage of the highest aristocracy dancing “before sweating” at a ball with footage of peasants “before sweating” (this inscription was repeated in the credits) working in the field, the director led viewers to simple logical conclusions about class differences and , as a consequence - the justice of the revolution (do not forget about the specifics of the time in which the film was shot). Shub's experiments revealed a large number of montage films created at different times and in different countries based on rethinking newsreel material. And besides, using her own original editing techniques, the director proved the possibility of the emotional impact of the old chronicle.
As for including Sergei Eisenstein among the documentary filmmakers, there are different opinions on this matter, primarily concerning the legality of dramatizations and reconstruction of events in documentary films - this topic is now especially relevant in connection with the spread of such practices on television. It is known that in some catalogs “Battleship Potemkin” (1925) was listed for a long time as a “masterpiece of Soviet documentary cinema.” The reason was that Eisenstein's films chronically reconstruct true events; they have neither a traditional plot story nor a main character around whom the action is built. Later, footage from them was used more than once by editors as an authentic chronicle. Undoubtedly, the question of whether a work belongs to fiction or non-fiction cinema is not simple. Documentary filmmakers often recreate events that took place in the past, using real characters, non-professional performers, and even artists. The controversial and aesthetic dubiousness of production methods, which in some cases produce impressive artistic results, lies in the dependence of this result both on the skill of the filmmakers and on their ethical principles. Still, the ethics of documentary filmmaking is, first of all, fidelity to the truth. Eisenstein himself responded to those who classified his film “Battleship Potemkin” as a documentary film that “the film acts like a drama, but is constructed like a chronicle”21.
When talking about television, the name of S. M. Eisenstein is traditionally mentioned in connection with his theoretical works on editing. In the articles “Montage” and “Montage of Film Attractions,” Eisenstein for the first time proposes the concept of “montage” of works of literature, analyzing the works of A. S. Pushkin frame by frame, and also points to the possibility of parsing by frame and works of art using the example of paintings by Leonardo Da Vinci. Many of the principles of frame combination proclaimed by Eisenstein have become classics in film and television. The latter universally uses static frames (they form the basis of any informational plot), the legitimacy of which in cinema Eisenstein once had to prove: “but a static picture is in some way not a static canvas, a film: the same change of frames as in a film shines through it. And she herself is a single and statically depicted imprint, corresponding to the one that is formed in the mind, like a kind of synthetic average from a sequential accumulation of frames in a film”22.
Another episode from the history of documentary cinema can be considered significant for television. In the early 1930s, director Alexander Medvedkin realized his grandiose plan of creating cinema capable of interfering with life - he launched a real “movie train”. Several carriages of a specially equipped train housed a film laboratory, a printing house, and a projection installation. The mobile film studio operated for two years from 1932 to 1934 and made twelve trips. The film train traveled around large construction sites and large productions, where documentarians filmed stories dedicated to the problems of labor collectives, immediately developed and processed the material, edited it, provided captions, and organized screenings with the participation of the heroes of the films and subsequent discussion. Documentary's desire for efficiency, later fully realized on television, was first embodied in this experiment.
At the end of the 30s, when the main theme of most films was the fight against fascism, Soviet chroniclers filmed material that is still used in historical television films and programs. Then the footage shot in Spain by Roman Carmen and Boris Makaseev formed the basis for 22 newsreel releases “On Events in Spain” (1936-1937) and Esther Shub’s film “Spain” (1939).
Very soon these and many other operators will find themselves on the front lines of the Great Patriotic War. “There were 252 of us - front-line cameramen, filming along the entire huge front of the Great Patriotic War - from the Barents Sea to the Black Sea. Every fifth person died in battles. Almost all survivors were wounded or shell-shocked, sometimes more than once. The three and a half million meters of film that we shot during those 1,418 days of war were, as they say, “worth their weight in blood.” Now this film is worth its weight in gold,”23 Semyon Shkolnikov, one of these 252, later recalled. At that time, materials filmed by front-line cameramen were used both in front-line newsreels and in large full-length films dedicated to the events of the war. The same footage was later included in many films made after the war: the famous film by Roman Carmen “The Great Patriotic War” (1965) and a later multi-part project based on this film, made for American TV “The Unknown War” (on Soviet TV - “The Great Patriotic War”, 1978); the 1967 film “If Your Home is Dear to You” by Vasily Ordynsky (one of the film’s screenwriters was Konstantin Simonov) and hundreds of other film and television films and programs.

2. Documentary films with the advent of television
Already in the early 30s, the first experiments in television (then “far-sighting”) began in the USSR. On May 1, 1931, signals were broadcast for the first time, carrying images of laboratory employees and photographic portraits, but without sound. On homemade televisions, radio amateurs received image signals with sound. Almost simultaneously with Moscow, experimental television broadcasting was launched in Leningrad, and a little later - in Odessa.
On May 1, 1932, a film was shown on television, filmed on the morning of that day on Pushkinskaya, Tverskaya and Red Squares. It was voiced by the announcers who were broadcasting a radio broadcast about the holiday that morning. And already in October 1932, a few days after the opening of the Dnieper Hydroelectric Station, television showed a large story about this event.
No longer experimental, but regular television started on November 15, 1934. The basis of the television program at that time was made up of fragments of pop and theatrical (mainly ballet and opera) performances. But, what is much more important, the program began to include programs on socio-political topics: speeches by people's commissars, leading production workers, famous pilots, and writers. Regular broadcasting from the new television center on Shabolovka began on March 10, 1939, and, characteristically, with the demonstration of a documentary television film made by Soyuzkinokhronika about the opening of the XVIII Congress of the All-Union Communist Party of Bolsheviks. A little later, other documentary programs began to appear on the air (for example, a program for the 20th anniversary of the First Cavalry Army). The beginning of news releases was laid - initially these were messages that were read by an announcer on camera. During the same period, the television magazine “Soviet Art” began airing, which was a montage of newsreel materials. Short speeches in front of a television camera by prominent public figures and scientists continued.

3. Post-war period
After the war, television broadcasting resumed in December 1945. The broadcasts were conducted in the same spirit as before the break caused by the war. An important achievement was the first mobile station on Soviet television, launched into operation in June 1949. As the authors of the textbook “Television Journalism” note, “the appearance of PTS in Soviet television meant something much more than just another technical improvement - the possibility of a fundamental modification of television programs arose”24. The main one of these changes, of course, was the emergence of the genre of television reporting. If in cinema, reportage shooting accompanied by a narration text had already been practiced, then television was faced with the fact that the genre required transformations: the television screen, unlike cinema, needed a more lively, more spontaneous speech, since it showed the event directly at the moment of it accomplishments.
Since television opened up the opportunity to penetrate factory floors, laboratories and design bureaus, it has taken time to master television journalism and this new topic for it. With the arrival of professional journalists on television (the first personnel were recruited from radio), socio-political broadcasting and documentary television production began to actively develop. However, at that time there was no division of such programs; they were mainly reports (from exhibitions, parades, and so on), designated as “thematic programs.” According to the data cited by the authors of the above-mentioned textbook, if back in 1954 the volume of socio-political broadcasting was less than 10% of all programs, then already in 1960 the volume of socio-political broadcasting, including documentaries, reached 35%, and later, in 1984 year - 53% of the total volume of programs.
After in November 1954, the capital’s television broadcast an essay by the famous journalist E. Ryabchikov about the just begun construction of power plants on the Angara, where, in addition to the author’s voice-over text, the presenter himself appeared in the frame, the journalist became a visible person, an important figure in the material.
Television was rapidly becoming widespread. By 1954, it attracted more than a million viewers. The VI World Festival of Youth and Students, held in Moscow from July 28 to August 11, 1957, became a landmark event for Soviet television. The Committee on Radio Broadcasting and Television under the Council of Ministers of the USSR, formed the day before (before this, television was under the jurisdiction of the Ministry of Culture), was tasked with wide coverage of the festival. Perhaps, still somewhat exaggerating the amount of work done by television, the authors of the textbook “Television Journalism” note that “during the festival days, broadcasting was carried out on two channels, 20-25 hours a day, from dozens of points. Several hundred programs were broadcast in two weeks.”25 However, there is no doubt that television has proven itself to be a fast, effective means of media capable of covering such major international events.
Along with the thematic division into programs for children (“Young Pioneer”), programs about art (“Art”), and women’s programs (“For you, women”), television acquired regular news broadcasting by the mid-50s. Since July 1957, television “Latest News” began to appear twice a day - at 19:00 and at the end of the program. But, more importantly in the context of this work, it was in the mid-50s that the first films intended for showing on television were created. The production of the first “television films” (the term itself appeared only in the mid-50s) essentially began in 1951 with the shooting of the first film-play for television, “Truth is good, but happiness is better.” The television film imitated a broadcast from the theater, although in reality the hall was empty, and the filming was carried out with takes, which were then edited.

4. 60s. The dawn of television journalism
Journalism on TV continues to actively develop. With the increasing desire of television for the “liveness” of displaying reality, the genre of reporting is being improved and interview techniques are being mastered. What is especially important is that during this period television journalism took on cyclical and multi-episode forms. As L. N. Dzhulay notes, “serialism or cycles as a structure or form of film storytelling - with its time space, its volume, is actually attractive for a documentarian, allowing him to accumulate material in the process of long-term observation”26.
Soviet documentaries of that time told mainly about the fraternal union republics, rich harvests, and colorful parades. “Exposing” films were made about the collapse of the bourgeois world and its aggressive plans against the USSR. However, there were also paintings that deviated from protocol information and sought to show the characters of people and the environment that surrounds them. Such attempts are noted in the paintings “The Tale of the Caspian Oil Workers” (1953) by Roman Karmen; “Extraordinary Meetings” (1960) by Arsha Ovanesova. By the way, “Unusual Encounters” became essentially the second series of the film “Pioneerism” (1931), the heroes of which were the same people. In fact, this was the first documentary series, the idea of ​​which was later borrowed by many other directors, for example Igor Shadkhan in the famous “Control for Adults,” showing for more than a decade how the film’s characters grow up.
Documentary filmmakers began to show particular interest in historical films, especially those illustrating the events of the last war. In addition to the famous “Ordinary Fascism” (1965) by Mikhail Romm, it is worth mentioning “Time, which is always with us” (1965) by Semyon Aranovich, “Feat. Felix Dzerzhinsky" (1966) by Leonid Makhnach, "Tutorial and tailcoat" (1968) by Viktor Lisakovich.
Seeing television as a powerful means of propaganda, the authorities provided it with full support, strengthening the material and technical base. The regular release of television films is made possible thanks to the creation of the creative association “Telefilm”. Television studio editorial offices are equipped with teleprinters, production is equipped with new filming, laboratory and lighting equipment. The number of correspondents, editors, and cameramen is growing steadily. The appearance of talented authors on television contributes to the emergence of personal programs in which the role of the author-host turns out to be extremely important. Here it is necessary to note the special contribution of literary critic Irakli Andronikov, writer Sergei Smirnov, publicist Valentin Zorin - these people played a significant role in the development of personalized television journalism.
The end of the 60s was characterized by new experiments in documentary filmmaking. A new aesthetic was opened up by the films of Artavazd Peleshyan (including the famous film “We” of 1969), which combined chronicle and staged footage, unusual editing, and carefully selected musical accompaniment. The experience of Pyotr Mostovoy and Pavel Kogan “Look at the Face” (1966), when over the course of weeks a hidden camera filmed the faces of Hermitage visitors looking at Leonardo’s “Madonna Litta,” showed that documentary does not always have to be serious and can carry an element of satire. Directors Uldis Braun and Hertz Frank in the large-scale project “235,000,000” (1967), dedicated to the 50th anniversary of Soviet power, proved that even a government order can be fulfilled in such a way that it turns out to be an interesting, non-trivial work - they were able to create a portrait of a huge country, filled with patriotism and containing living human destinies and feelings.

5. 70-80s. Monumentalism in documentary
“Such a truly gigantic cinematic industry as our non-fiction cinema could not be found in any country. At the turn of the 70-80s, there were about three dozen film studios under state control, annually producing 30-35 full-length films and about 500 short documentaries and popular science films. With educational and custom films, the total number of these film productions was up to one and a half thousand titles<…>and the existing parallel gigantic television film production”27.
In the 70s, television films shot on film were replaced by the use of video recording and video editing techniques leading to the emergence of video films. In terms of the number of video films, the leading place at that time was occupied by monumental television epics. For example, 60 episodes of “Our Biography” (1977). Moreover, a new approach of documentarians to creating such films is characteristic. For comparison, the “Chronicle of Half a Century” (1968, 50 episodes by different authors), filmed in the 60s, consisted mainly of footage from the old chronicle, accompanied by narration. “Ten years later, it became clear that people are more inclined to believe in the subjective honesty of the person on the screen than in the impersonal off-screen formulations uttered on behalf of some bearers of absolute truth.”28 If in the “Chronicle of Half a Century” there were only 26 fragments of interviews (television “synchronizations”), then in “Our Biography” there were already 900 of them. In addition, a journalist appeared in the film, communicating with the characters and at the same time comprehending what he saw (the author of the series and the first presenter was G.M. Shergova). Similar series were created on a large scale and with the pomp characteristic of those times: “Children's Commissars” (1976) by Samaria Zelikin; an eight-part epic about the restoration of the country after the war, “The Most Expensive” (1981), realized by Roman Carmen’s group after the director’s death; the grandiose series “The Truth of the Great People” (1982), filmed by Boris Rychkov commissioned by the State Television and Radio Broadcasting Company for the 60th anniversary of the formation of the USSR. The titles of the series are indicative: “The Word of the Party”, “Our Common Cause”, “What is Soviet Power”, “Soviet Character”. Characterizing the monumental films of those years, L. Yu. Malkova notes among the main features of such films the following: “the comprehensiveness of the concept, exaltation, praise of the political actions of the government, the globality of historical, theoretical, imaginative generalizations, the claim to be epoch-making, the universality of the proclaimed ideas”29.
Despite the “stagnation” of the era itself, television continued to develop intensively, especially in technical terms. For the Olympics, it received a lot of new equipment, which subsequently served a long service. True, if the technical level of the programs improved noticeably, their content remained unchanged until the end of the 80s.

6. Publicity. Documentary "explosion"
The time of perestroika became the “finest hour” of Soviet documentary filmmaking. In the collection “After the Explosion,” books by L. Yu. Malkova and L. N. Dzhulay, this period is called the “explosion” of documentary filmmaking in Russia. The authors unanimously note that neither before nor after this time it was in such demand. Documentary makers have zealously responded to society's need to know the truth about itself. Moreover, what is noteworthy is that the documentary “boom” affected both the television and film screens. For example, the Moscow cinema "Strela" switched exclusively to showing documentaries. And at the Rossiya cinema, people stood in line for weeks to see Juris Podnieks’ film “Is It Easy to Be Young” (1987).
The weakening and then the complete denial of any censorship taboos led to the fact that documentarians seemed to be “afraid of missing out on the opportunity to make a film on a topic that had been before and could be banned again - the issue of film form receded into the background.<…>Paying tribute to youth culture, showing prostitutes and drug addicts, residents of nursing homes and psychiatric hospitals, the unvarnished life of the lower classes of society, the documentary filmmakers went through the main thematic areas opened in the 50s by the English “free cinema”30 (meaning the film formed in the mid-50s a group of young English directors led by L. Anderson, K. Reis, G. Lambert, T. Richardson. Their low-budget short films, such as “Oh, Wonderland” (1953), “Mommy Won’t Allow” (1955) and others were distinguished by topicality, naturalism, and in some places even aggressiveness).
From the mass of very diverse, sometimes low-quality films, we can highlight a number of documentary discoveries of those years. Marina Goldovskaya’s films “The Arkhangelsk Man” (1986) and “Solovetsky Power” (1988) - about the Solovetsky special purpose camp, the first of the islands of the Gulag archipelago - became a real sensation. “Theater of the Times of Perestroika and Glasnost” (1988) by Arkady Ruderman brought the problem of anti-Semitism to the wide screen for the first time, and the form of “cabbage” characteristic of this film became very common in documentaries of that period, which tended to be chaotic. Notable for their topicality are films about drug addiction (“Confession: A Chronicle of Alienation” (1988) by Georgy Gavrilov) and about army hazing (“DMB-91” (1990) by Alexei Khanyutin). Pictures about art that had recently been in the fold: “Black Square” (1987) by Joseph Pasternak - about the artistic avant-garde, “African Hunt” (1988) by Igor Alimpiev - about Nikolai Gumilyov. The tradition of depicting a person’s maturation and the formation of personality in a new way was continued by feature film director Nikita Mikhalkov in the film “Anna: from six to eighteen” (1993), showing a certain period of the country’s history through the eyes of his own daughter. At that time, Hertz Frank’s films “The High Court” (1987) - the repentance of a criminal sentenced to death for murder, and a series of films by Stanislav Govorukhin: “You Can’t Live Like This” (1990), “The Russia We Lost” - aroused wide discussions at that time. (1992). Stories about such classified events as the exile of A. Sakharov or the explosion at the Chernobyl nuclear power plant appeared on the television screen - until recently, these topics were even avoided by news programs.
However, attempts by television management to pacify glasnost still took place - for excessive boldness of judgment, the presenter of the International Panorama, Alexander Bovin, was excommunicated from the air, and Eldar Ryazanov stopped collaborating with television. At the beginning of 1991, the youth program “Vzglyad” was closed, after which its authors began filming subsequent episodes in their apartments and distributing them on video cassettes.

7. “Survival” of documentary films after the “explosion”
Turning again to the terminology of the compilers of the collection “After the Explosion,” we can characterize the state of post-perestroika documentary filmmaking as “survival.” L. N. Dzhulay also calls this period “inertial,” dating the end of documentary (especially cinematic) to 91. “Social and political reality of 91-93. did not lend itself to cutting according to prepared patterns. Documentary thinking turned out to be not ready to discuss such problems as the collapse of the empire, the severance of economic ties, the consequences of the transition to a market, the lumpenization of the population, national conflicts, etc. And openly ordered, biased, and obviously voluntary, amateur attempts to understand complex political matter,<…>as a rule, they gave in, kept back their words, were rude or disingenuous”31.
In an unprecedentedly short period of time, domestic television has undergone a gigantic journey of transformation: it has freed itself from the power of state censorship; ceased to be a party-state monopoly; began to develop new forms of ownership; underwent a division into television production companies (production companies) and broadcasting companies (TV channels themselves); Finally, a market for programs emerged on television and, as a consequence, their competition. The specificity of this competition is that it took place not on a qualitative, but on a quantitative scale due to the sharply increased possibility of choosing programs.
Such changes did not have the best effect on documentary production: “Central Television collapsed, and the emerging television companies relied primarily on news programs, cheap Latin American soap operas, game shows and countless talk shows. The creative association “Ekran” of Central Television ceased to exist, the studio “Tsentrnauchfilm” and TsSDF practically stopped making documentary films. It seemed like the genre was dead."32 Only in the second half of the 90s did documentary films begin to reappear on television, either in the form of products from the channels themselves or works commissioned by television, or in the form of showing documentary films, remaining much less represented than at the turn of the 80-90s. And documentary cinema, although in significantly smaller volumes, continued to present outstanding works.
Nevertheless, although in significantly smaller volumes, documentary cinema continued to amaze with its striking works. At this time, Sergei Dvortsevoy was filming his “Bread Day” (1998), and Sergei Loznitsa also touches on the theme of the village in his film “Portrait” (2000). Vitaly Mansky demonstrates a new look at documentaries: in the film “Snapshots of Another War” (1995), the director inserts footage from a porn film along with military chronicles. Based on another work by the director, “Private Chronicles. Monologue" (1999) contains footage from an amateur film archive of the 1960s-1980s, illustrating the story of a certain fictional character, on whose behalf the story is told. At the end of the film, the viewer learns that the story was told from the perspective of the hero who died during the accident of the ship "Admiral Nakhimov".
Many directors prefer to work independently of film and television studios, realizing their plans independently. This is how Victor Kosakovsky works - his painting “Hush!” (2003) was filmed entirely from the window of his apartment, where it was later edited: for 80 minutes the camera follows what is happening on the street. Director Tofik Shakhverdiev also works independently and independently. His film “About Love” (2003) talks about children deprived of fate - a boy with cerebral palsy and a girl born without arms.
During this period, documentary film existed in isolation, and its development could only be tracked at specialized festivals, although the new possibilities offered by modern video technology gave it a new impetus. Portable digital cameras made it possible to shoot images of acceptable quality with synchronous sound on mini-DV cassettes, which reduced the cost of film production.
Changes in the social functions of television, its technical capabilities and economic transformations in the post-Soviet period - all this formed a list of features that affect the content and form of television products, including documentaries.

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