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The world cinematography of the 1970s and 1990s is associated with the work of its outstanding personnel, who in their films turned to various philosophical and aesthetic concepts that helped them to protest against spirituality, to affirm the ideals of humanism, and the values of high human feelings.

Wide use of archival materials seems to us to be especially valuable in scientific research. This concerns the historical exploration of the Kharkiv researcher V. Myslavsky, dedicated to the first decade of game cinema. The author "equipped" his essay with numerous references to pre-revolutionary film magazines and beautiful iconographic material. Footage from "pre-revolutionary" films is all the more valuable because the tapes themselves have hardly survived.

The 1960s and 1970s were rich in monographic publications, which covered specific problems of domestic cinema. In the 70s, the works of I. Kornienko "Half a century of Ukrainian Soviet cinema" (1970), "Cinema of Soviet Ukraine" (1975) were published. The appearance of these books made it possible to create an academic history of Ukrainian cinema. Of the planned three volumes, only two were published. And there was a certain regularity in this. The fast-moving course of events, the change in social attitudes made the third volume obsolete already in the manuscript. Did this mean the rewriting of history, about which some learned men lamented? Probably not. It's just that history began to reveal its secrets, which had been carefully hidden for a long time. And artistic phenomena, accompanied, it would seem, by a fixed look, suddenly appear in their other renewed quality.

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An extremely interesting aspect was chosen by V. Slobodian, researching acting schools in the cinematography of Ukraine. The author focuses on the work of theater actors of Les Kurbas in the cinema, which makes it possible to judge the contribution of the great director to the art of cinema, despite the fact that no film directed directly by Kurbas has survived. The actors of the Kurbasa theater showed themselves brilliantly in the films of O. Dovzhenko, I. Kavaleridze, and other famous directors, fully taking advantage of the lessons of their great teacher.

The appearance of "Essays" was a qualitatively new step in the development of domestic film studies. A wide range of scientists belonging to different schools and directions in film studies took part in the work. The authors did not set themselves the goal of consistently covering all stages of the formation and development of cinematography on the territory of Ukraine. But, without a doubt, the compilers and authors managed to focus on key moments, trace the most important regularities of the filmmaking process. Issues that have remained on the margins of the historical science of cinema have come into focus. Separate chapters are devoted to both local phenomena and entire historical stages, and the authors mostly build their research on a solid theoretical foundation.