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Wide use of archival materials seems to us to be especially valuable in scientific research. This concerns the historical exploration of the Kharkiv researcher V. Myslavsky, dedicated to the first decade of game cinema. The author "equipped" his essay with numerous references to pre-revolutionary film magazines and beautiful iconographic material. Footage from "pre-revolutionary" films is all the more valuable because the tapes themselves have hardly survived.

The film "Shadows of Forgotten Ancestors" was conceived as a screen adaptation, but this film had a different fate - to become a manifesto of a whole direction, which was called "poetic cinema". This direction had the greatest publicity in the context of Ukrainian cinematography of the specified period.

Cinematography of the Soviet period of the 30s of the XX century. became a kind of mirror of the totalitarian era, because all cinematographic genres of that time fulfilled certain "social orders". A vivid example of this was the historian-revolutionary film presented by M. Romm's dilogy - "Lengn in October" and "Lenin in 1918"; trilogy by H. Kozintsev and L. Trauberg - "Maxim's Youth", "Maxim's Return" and "Vyborzka Side"; paintings by S. Yutkevich - "Man with a gun", the Vasiliev brothers - "Chapaev"; O. Dovzhenka - Shchors.

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The spiritual and sensual world of heroes is best revealed by melodramas. Beautiful costumes and scenery, lyrical music - all this was transferred to the movie screen from the theater stage.

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,