diziler burden of truth diziler yakamoz s 245

The specified period turned out to be extremely rich for the cinematography of Ukraine in terms of the thematic focus, which was represented by the historical and biographical genre: "Taras Shevchenko", "I'm Coming to You", "Yaroslav the Wise", "The Legend of Princess Olga", "Danilo - Prince of Halytskyi" and others; interpretation of the theme of the Great Patriotic War: "Only "old men" go to battle", "Aty-dad, the soldiers went", the trilogy about Kovpak, "High Pass", etc.; psychological drama: "/Bathroom", "Commissars", "Long Farewells", "Military-Field Romance", "White Bird with a Black Badge", "Flight in a Dream and Awake", "Rooks", "How Young We Were ", "A wedding is accused", "Adam's rib", "Three stories", etc.; screen adaptations: "Malva", "Sailor Chizhik", "At a high price", "Land", "After two hares", "Weed", "Bread and salt", "Stone cross", "Lost letter", "Babylon -XX", "Black chicken,

The 20s of the 20th century were marked by the creation of Ukrainian film studios. Many tapes were shot under their guidance, which became famous all over the world. A film was shot on the territory of the Odesa Film Studio, which later became a business card of the city and was included in the top ten films of world cinema. We are talking about "Battleship Potemkin" by Sergei Eisenstein. It is impossible not to mention the films of Oleksandr Dovzhenko, the central figure of Ukrainian cinema. O. Dovzhenko's style gave birth to a new direction of "Ukrainian poetic cinema": "Zvenigora", "Arsenal", "Zemlya". The latter takes the 2nd position in the list of the 100 best films in the history of Ukrainian cinema and is included in the top 12 films of all times and nations. Such a top was formed based on the results of a survey of 117 film historians and film experts from 26 countries of the world at the Fifth World Exhibition held in Brussels in 1958.

Materials devoted to non-fiction films are more modest in scope. Analyzing its problems, S. Marchenko places the series "Unknown Ukraine" in the center of attention, tracing the ideological and thematic transformation of domestic non-fiction cinema, the aspiration of documentary filmmakers to acute journalistic and searching nature. The author emphasizes the complexity of the creative tasks faced by filmmakers who consider the documentary reproduction of historical events and their interpretation according to historical documents, not ideological schemes.