Abstract
In the era of digital globalization, instant exchange of information, ideas, data, all traditional genres are undergoing a transformation process. The advent of digital technology has created many opportunities for the world of documentary narratives. Digital recording and archiving, modern filming technologies, the Internet, and increasingly expanding communication flows are changing both the ways, methods and techniques of creating content, and the conditions for its presentation, display and consumption. The article is devoted to a relatively new trend digital time for both the expansion and modification of old forms, and for the creation/birth of completely new versions of non-fiction cinema – in a variety of formats. The key question is how traditional types of documentary films “mutate” in a dynamically changing reality and what is the specificity of the modern documentary narrative. During the research, authors followed the structural-analytical method, it was found that the method of creative documentaries is very diverse, the use of creative methods is motivated by the need to solve not so much technical as before but artistic and communication tasks. As a result, today there is an outbreak of creative documentaries on screens and streaming platforms, which in its form is practically a hybrid of game and non-fiction cinema, where the current and global agenda, along with the accuracy of fact, reliable information, has an artistic form, demonstrating a new and fascinating film-language. It is the experiments with form, the mixing of genres, the introduction and use of visual effects subordinate to the author’s idea that expand the space of modern documentary, contributing to the creation of new types of it, such as animation-documentary, web-documentary, VR (virtual reality) genre, documentary- show. Creative documentaries, according to the authors, marks a revolutionary turn both in the development of non-fiction cinema and in the field of modern culture, influencing the consciousness of the masses.