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A premonition of an inevitable tragedy permeates the work of the masters of French cinematography, in particular the films of "poetic realism" by J. Préver and M. Carnet - "The Embankment of Mists", "The Day Begins"; paintings by J. Renoir - "The Great Illusion", "Rules of the Game", "Man-Beast". Therefore, it is no coincidence that the number one actor of the French cinema of this period is Jean Gabin, whose hero defies history and is doomed to death. This gave the well-known theoretician and film historian A. Bazen reason to call Gaben a tragic modern hero.

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.

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.

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Hollywood is notonly movie studios andabode of the stars, thisalso a huge television business,record companies, commercial publishing houses , tourist offices.In a word, gigantica machine that continuously delivers entertainment and100% subject to lawsbusiness world. There is no profit herefrom the box office is only a thin onetop layer ANDthe lion's share of profits to companiesprovide product placement(let's remember, for example , howin the film "The Matrix" ineveryone flashes before our eyes every secondpossible products of the Samsung brand, andlet's try to imagine how much she earned from thisfilm studio), sale of rights tofilms for airlines, use of heroes ingames/comics/advertisements , releasesouvenir products.Let's not forget, no matter howI wanted to forget about it, that Hollywood cinema is quietalso serves state interests. Often the customer of that orthere is another tapePentagon. "The green onesberet" by John Ray, "The best shooter" by Tony Scott,"Pearl Harbor" by Michael Bay, "A Dayindependence " by Roland Emmerich, "Thirty minutes aftermidnight" Kathryn Bigelow, "Man fromof steel" by Zack Snyder and many other films in whichor else a good word soundsabout the state and its military power, removedto order and with solid financial participationPentagon.

A separate milestone of Ukrainian cinema is the screen adaptation of works of classical literature: "Shadows of Forgotten Ancestors" (1964), "Ukraine on Fire" (1967), "Stone Cross" (1968), "Natalka Poltavka" (1978), "Black Council" (2000 ) etc. Such films primarily convey the Ukrainian flavor: scenery, picturesque landscapes of Ukrainian lands, language diversity. Films based on the motives, or completely based on the plots of the classical literary heritage, supposedly remind Ukrainians that literature is easily used on big screens. Although the films have been shot since the 60s of the 20th century, their popularity has not waned.