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V. Skurativskyi, considering the film process of the totalitarian era, resorts to convincing generalizations, searching for certain regularities according to which the cinematography of that era existed and developed. Analyzing the cinematographic works of the 1920s, S. Trimbach traces film processes in the context of national culture, highlighting the personality of O. Dovzhenko in a "close-up", emphasizing how fateful the appearance of this artist was for Ukrainian cinema.

Ukrainian film art of the 1950s-1990s in feature films is connected with the work of R. Balayan, M. Belikov, L. Bykov, V. Braun, A. Bukovsky, V. Gresya, V. Denysenko, K. Yershov, V. Ivanova, V. Ivchenko, Yu. Ilyenka, O. Itigilova, G. Kokhan, V. Kryshtofovych, T. Levchuk, Ya. Lupiya, M. Mashchenko, I. Mykolaychuk, K. Muratova, O. Muratova, L. Osyka, S. Parajanova, B. Savchenko, P. Todorovsky, L. Shvachka, etc.; in documentary cinema - S. Bukovsky, O. Koval, M. Mamedov, O. Shklyarevsky, etc.; in popular science cinema - V. Olender, O. Rodnyansky, A. Serebrenikov, F. Sobolev, etc.; in animation - V. Dakhna, D. Cherkasky and others.

Avant-garde experiments cover almost all the leading cinematographies of the world. A bright page in the history of cinematography of the 20s is connected with the cinematography of the Soviet period, in particular with the work of L. V. Kuleshov (1899–1970) - "The Extraordinary Adventures of Mr. West in the Country of the Bolsheviks", "Death Ray", etc. - which, based on based on his own "model theory", created the First School of Film Actors (O. Khokhlova, B. Barnet, V. Pudovkin, S. Komarov, etc.); Dzygy Vertov (1896–1954) - an outstanding documentarian, the founder of journalistic cinema ("Sixth part of the world", "Symphony of Donbass") and the FEKS group (Factory of Eccentric Actor), which was organized by H. M. Kozintsev and L. 3. Trauberg , who in their artistic experiments relied on the principles of eccentricity ("Overcoat", "SVD", "New Babylon").

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Despite the crisis of the US economy in the 1930s, the American cinematography of this period experienced the highest rise and prosperity - its "golden age". The viewer wanted to watch movies more than ever. This unexpected, at first glance, situation was explained quite simply. Along with exquisite elitist paintings by J. Ford (1895-1974) "The Grapes of Wrath", "Young Mr. Lincoln", W. Wyler (1902-1981) "The Dead Corner", "The Foxes", O. Wells (1915-1985) " Citizen Kane", which admired for its innovation in the field of drama, in the system of expressive means, stunned with its psychological depth and social significance, commercial genres are becoming widespread: gangster films, horror films, melodramas, musicals, westerns, etc. So, American cinema of the 1930s performed a certain compensatory function, distracting the viewer from life's problems.

The cinema of independent Ukraine becomes the object of research by I. Zubavina. It must be said that the author set himself a difficult task: the material, one might say, is still pulsating, having "not stood up" in numerous studies. But the author decently overcomes these difficulties, singling out the most noticeable and expressive tendencies manifested in film productions created at domestic studios. I. Zubavina observes how the breath of time changes the aesthetics of national cinema, how painfully these changes sometimes occur, but the author does not doubt their regularity and necessity.