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Film festivals Today, the Ukrainian film industry is at the stage of its heyday and is reaching the level of popularity. This is confirmed by the large number of events that support and promote Ukrainian cinema. An example of one of these events is the "Modern Ukrainian Cinema" festival, which took place on the territory of the Mykhailo Hrushevsky Odesa Regional Scientific Library. Everyone who wanted to could watch modern Ukrainian cinema for free, which was presented at international film festivals: "Home" (2019, drama), "My thoughts are quiet" (2019, tragicomedy), "Myth" (2017, documentary), "Cool 1918" ( 2018, historical), "The city in which money does not circulate" (2018, fantasy).

At the same time, cinematography can by no means be called a "technical" art. Man's primordial need for a figurative understanding of reality gave birth to this mass form of art. Cinema is synthetic in nature, it combines elements of literature, theater, painting, music, choreography. That is why cinematography operates with many expressive possibilities borrowed from other forms of art. At the same time, cinema has its own specific means and techniques, in particular: perspective (angle of view of the film camera), change of plans (general, medium and large), montage, which combines individual frames in a logical sequence and makes it possible to convey the emotional and psychological tension of the episode.

The literature and social activities of J. Osborn and J. Kerouac had a significant influence on the American film process of the 60s, which determined the figurative and thematic orientation of the "counterculture" phenomenon. The tendency to the emergence of new directions occurs in the 60s of the XX century. and in the countries of Eastern Europe, in particular, in Russia, there is a "movement of the sixties", which in the art of cinema is associated with the work of M. Khutsiev - "Zastava Ilyich" and "July Rain"; A. Tarkovsky - "Ivan's Childhood"; G. Danelia - "I walk around Moscow", "Don't be sad", and became a cinematic reflection on the "Khrushchev thaw".

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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.

Yuriy Shevchuk, founder and director of the Ukrainian Film Club of Columbia University, in his article " Language in the Modern Cinema of Ukraine", described this phenomenon as follows: "Ukrainian film aphorisms were included in the Russian collection "Flying Phrases and Aphorisms of the National Cinema" entirely according to the logic of colonialism, becoming a fact of imperial culture . Thus, a change in language causes a change in the national identity of a cultural product. Ukrainian film aphorisms, like entire films translated into Russian, ceased to belong to the people who created them, and became Russian not only for Russians, but also in the minds of Ukrainians themselves."