Abstract
The article proposes the author’s definition of the term “language landscape of a documentary film”. Testing the validity of the definition and its components was carried out on the basis of documentary media products about P.A. Zahrebelnyi: documentaries «P.A. Zahrebelnyi. To the question» (2014), «P.A. Zahrebelnyi. Sonnet 29» (2000), TV programs «Miracle Keys of P.A. Zahrebelnyi» (2009). The heuristic value of studying the linguistic landscape of a documentary film lies in the special focus of the analysis. The linguistic space of modern documentary nowadays often becomes multilingual, some elements of this are recorded in the analyzed media products about P.A. Zahrebelnyi. Although in general there is reason to talk about the “monophonic” type of language landscape (representation in Ukrainian). In documentaries, the symbolic function of the language landscape is projected not only on national identity, but also on the background cultural experience of the potential audience of media products.
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