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This fate did not escape actors: yes, John Wayne, Ridley Scott were associated with westerns, Edward Robinson - with gangster films, John Crawford and Barbara Stanwyck - with melodramas, Boris Karloff, Bela Lugosi - with horror films, Bruce Willis, Arnold Schwarzenegger, Sylvester Stallone - with action films, Jim Carrey, Leslie Nilsson - with comedies. The most popular cinematographic genre is detective: showing crimes, their investigation and identification of the guilty. Varieties of this genre are action, or action, western, gangster film, martial arts film and some thrillers.

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.

Visconti Luchino(1906-1976) - Italian film director, one of the bright representatives of European elite cinema. A characteristic feature of his creative heritage is a clearly expressed thematic orientation. The leitmotif of all the director's films became the themes of family, beauty and tragic loneliness, the peculiarities of which interpretation were stimulated by the heuristic potential of the artist's biography. Paintings by L. Visconti "The Earth Trembles", "The Most Beautiful", "Rocco and His Brothers", "Death of the Gods", "Death in Venice", "People", "Family Portrait in the Interior" and "Innocent", despite stylistic differences and time distance, make up a kind of cycle. If the themes of family and tragic loneliness were the object of artistic understanding of many directors of the world, the interpretation of the theme of beauty became a feature of L. Visconti's work. Peculiarities of worldview,

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It is not often that film experts turn to such an important field of cinematographic activity as film education. It can be said that the young researchers R. Roslyak and O. Bezruchko entered the territory that until now remained on the margins of film studies. In addition, few researchers were able to master historical facts with the help of archival documentation. R. Roslyak's text reveals to the reader a kind of terra incognita, because during the Soviet era, Ukrainian film education was persistently relegated to the shadows, weakening it also purely organizationally (closure of the film institute, departure of personnel, etc.).

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.