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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.).

A text dedicated to television (by I. Pobedonostseva) stands a little apart from the general picture. And yet its appearance seems quite logical in the general structure of the book. After all, today most of the films become the achievement of a wide audience precisely thanks to their demonstration on the TV screen. In addition, television makes it possible to introduce the younger generation to the heritage of cinematic classics. Essays are thought to be just the beginning. They will become the foundation of the publication, built on a systematic and consistent presentation and analysis of the processes and phenomena of domestic cinema.

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.

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Each era, each generation examines and studies the history of art from its own point of view. This constitutes the same subjective knowledge of objective truth. The history of Ukrainian cinema began in the 20th century. already at the end of the 20s. One of the first books that highlighted the history of domestic cinema was Ya. Savchenko's book "The Birth of Ukrainian Soviet Cinema" (1930). Years of repressions and wartime disasters did not contribute to the emergence of fundamental works of film studies. And only at the end of the 1950s, three books of essays "Ukrainian Soviet Cinema" published by the Academy of Sciences of the Ukrainian SSR appeared. Its authors I. Kornienko, A. Zhukova, G. Zhurov, A. Romitsyn provide a systematic picture of Ukrainian cinema from the post-revolutionary years to the post-war years. It is interesting that in the early 1960s, the American film critic B. Berest published his work "The History of Ukrainian Cinema" (1962), which was largely polemical about the point of view of Soviet historians.

The US film industry has developed a system of multi-genre independent cinema: both cult films and creative experiments by directors. As a rule, these are low-budget films made by little-known directors. "Independent films" are mainly non-commercial films that bring maximum profit to their creators, such as blockbusters, and therefore in them you can often see some creative experiments. Most often, it is from "independent" cinema that world-class stars emerge: for example, the debut film of the famous K. Tarantino was the film "Mad Dogs", which is now called a classic of independent cinema.