| Summary: | <p>In the history of forming of visual anthropology as a method of<br />intercultural communication in Russia up to the present time documentary<br />cinematograph takes a dominant lead. Taking into account the change of<br />ideology and the information technologies’ development level there can be<br />marked several stages:<br />• Already in the pre-revolutionary period the documentary cinematograph<br />started realizing its cognitive function, which made its core function<br />with time. Unpretentious short fragments of the chronicle are nowadays<br />considered the rare evidences of the passed life.<br />• After the revolution the new state from its very steps set a task for<br />cinematography to form a “new man”. This movement was headed by<br />Dziga Vertov, an ideologist of a special vision of reality via cinema camera<br />and via influencing the spectators through the documentary screen. His<br />“kino-pravda” had become a symbol for the researchers of the real world<br />with the help of the movie language. The movie “A Sixth Part of the World”<br />became an unprecedented project of a simultaneous documenting of lives<br />of different peoples in vast territories of the country, and it inspired other<br />documentary filmmakers for making movies on ethnographic topics.<br />• The post-war period was the time of a reviewing “kino-atlas” based on<br />popular science movies – “travelogues”, where just a little time was spared<br />to ethnographic topic. The common cinema target became showing the<br />achievements of the Soviet system. Participation of scientific community<br />was limited to advisor’s role. Just in some particular cases there were<br />created university and academic ethnographic movies.<br />• The first in the USSR territory festival of visual anthropology in Parnu<br />town offered a new approach to showing the life of human communities.<br />The main challenge of the film directors was to reveal the essential features<br />of lives of those people who confided to tell their stories. Such principles<br />of visual anthropology as authenticity and moral responsibility towards the<br />depicted culture became a challenge to the attitudes to forming the mindset<br />of the spectator in an available form.<br />The contemporary period of visual anthropology development is marked with<br />search of ways of integration of scientific approaches of modern anthropology<br />and a newly forming ethical and aesthetical language of the documentary<br />cinema.</p>
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