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("Chained with one chain", "OnBerezi", "Nuremberg Trial" ). Ownmakes the best tapesA. Hitchcock ("Vertigo", "Psycho", "Birds"), The film "Birds" in American cinema wasa new film genre was launched - a disaster film based on the struggle of man withnatural elements (fire, water, earthquake) andrepresentatives of the animal world.At the same time, young people are increasingly actively asserting themselvescinematographers . In the beginning"conflict of generations" the films "Marty" by D. Mann and "Twelveangry men" by S. Lumet,however, he threw the most serious challenge to "old Hollywood".the idol of the youth of that time J. Dean -performer of the main role ina film with a symbolic title"Rebel without an ideal".Among the prominent actors of the second half of the 50s -early 60shas a special placeMy favorites are newgenerations of Americans of different social classes Marilyn Monroe.Today, films with her participation ("All about Eve", "Niagara", "Only in jazzgirls" etc.) quiteare often shown on television. Documentaries and feature films are devoted to the life of the actresstapes, books have been written about her, but the mystery of the death of Marilyn Monroe, which is not yet knownrevealed, continues to worry future generationsher fans.In the second half of the 60s- the first half of the 70sHollywood is going through a thematic periodrenewal.

An important event in the development of cinema art in the 30s was the invention of sound. This new discovery actively influenced the development of the system of cinematic expressiveness, became an important component of the film image and led to the emergence of musical film genres: musicals, film operas, etc. At the same time, analyzing this period in the history of world cinema, it is necessary to remember that the 30s of the 20th century. were associated with acute social cataclysms. On the one hand, the Great Depression, which stunned the USA, and on the other hand, the imminent danger of fascism and totalitarianism, which loomed over Europe, gave rise to feelings of insecurity, fear, and tragic foreboding in the artists of the 1930s.

Some sections are frankly polemical in nature. The authors reserve the right to the original interpretation of classical works, although sometimes their interpretations seem too paradoxical. This can be said about the essays written by O. Musienko and O. Sydor-Ghibelinda.