DOCUMENTARY FILMS-A SOCIAL TECHNOLOGY OF INTERCULTURAL COMMUNICATION

The reasoning of the paper is based on two theoretical concepts. The first is the definition of the term "social technology." The concept of social technology is based on the differences established by Karl Popper between utopian social engineering, on the one hand, which is guided by the illusory vision of an ideal society and has a limit in the form of catastrophic consequences; on the other hand, it is a partial social engineering that continues through the identification of social evils and the response of the reforms responding to them. The second concept, which forms the basis of our reasoning, is Sergei Muratov's statements about television documentary films as a genre in the book Axioms Time or Theorems Time. It separates direct operational reports, which do not represent any artistic value, and documentary cinema, which creates the effect of presence, replaces the artistic images in it with the author's revelation of a journalist. It sates with the dramaturgy of the viewers, the events included in the reportage, people acquire the force of "artistic image." In this context, the hypothesis is: the genre of documentary films acts as a social technology of utopian social engineering, where documentary films are a tool for identifying social evils and the responses of reforms reacting to them. To prove the hypothesis, we analyzed the documentary films of the 1980s, dedicated to the Afghan war, the broadcast of the war in Iraq in 1991, the documentary short films of the 1960s.