Public History: Filling the Gaps of History through Historical Documentary Films in Contemporary Kazakhstan

Abstract

This thesis investigates the role of historical documentary films in shaping public history by addressing gaps in historical knowledge in contemporary Kazakhstan. Although nationhood and identity have been extensively explored, limited interdisciplinary research on documentary film production considers historians’ perspectives, narrative strategies, and audience reception. This study responds to that gap by examining the motivations and attitudes of participating historians, analyzing the content of selected documentaries, and exploring patterns of public engagement. The thesis applies cultural memory theory to examine historians’ roles in documentary film production. It also employs the documentary mode framework to analyze genre conventions, narrative structures, and their influence on the audience. The data for the study were collected through interviews with historians, content analysis, and analysis of social media comments. The findings indicate historians occupy dual roles in documentary production — serving as consultants and content reviewers and are at times involved in the selection of topics. While some embrace the identity of “public historians”, emphasizing their commitment to communicating with non-specialist audiences, others reject the label, expressing concerns about bias and the projection of particular perspectives. Despite these divergent positions, both groups are united by a shared aim: to revive historical memory and broaden public access to historical knowledge. The documentaries analyzed combine expository and participatory modes, employing affective storytelling to address historical gaps in ways that conventional academic narratives often do not. Audience engagement, assessed through YouTube comments, reveals recurring themes, including expressions of appreciation for the filmmakers and historians, critiques of historical inaccuracies, emotional reactions, and reflections on the films’ educational value.