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The concept of film genre began to take shape with the establishment of the Hollywood studio system. It helped systematize the production of films and facilitated their promotion to the market. Each studio specialized in the production of films of a certain genre: Paramount Pictures produced comedies, Universal Studios - horror films, Metro-Goldwyn-Mayer - musicals, etc. At the same time, some directors and actors began to associate the audience with specific genres of movies: director Alfred Hitchcock — with thrillers, Jeffrey Ford — with westerns, Douglas Sirk — with melodramas, Wes Craven and Lamberto Vava — with horror films, John By — with action films , Roland Emmerich — with disaster films.

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During the years of its independence, Ukraine continued to be under pressure from Russia and its language. Let's watch the famous Ukrainian series: "Matchmakers", "Sniffer", "Female Doctor". All of them are in Russian. It is not surprising that catchphrases from Ukrainian cinema do not "fly" in the world. In fact, they "fly", and, unfortunately, in Russian.

The logical conclusion of Ch. Chaplin's search were the films "The Tramp", "The Kid", "The Pilgrim", "On the Shoulder" and others. The second stage is the flowering of the talent of the film artist, which was convincingly evidenced by the release of his recognized masterpieces - "Lights of the Big City" and "New Times". The first and second stages of Ch. Chaplin's work are united by the image of Charlie the vagabond - a symbol of the director himself. The third stage in the artist's legacy is the stage of high professionalism associated with the films "The Great Dictator", "The King in New York". "Monsieur Verdu" and others.

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The intelligence of R. Roslyak and O. Bezruchka logically complement each other. Dovzhenko's pedagogical activity has been studied surprisingly little, especially when it comes to the director's laboratory on the basis of the Kyiv Film Factory. Here we can talk about the opening of fundamentally new pages in the creative biography of an outstanding film artist.

That is why, when studying the cinematography of the 1930s, two important aspects should be taken into account: the social one, which prevailed in the cinematography of the Soviet period, German cinema and the cinematography of the United States, and the ontological one, which gave an impetus to the understanding of the processes that took place in the French cinematography of the specified period.

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