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The cinema of independent Ukraine becomes the object of research by I. Zubavina. It must be said that the author set himself a difficult task: the material, one might say, is still pulsating, having "not stood up" in numerous studies. But the author decently overcomes these difficulties, singling out the most noticeable and expressive tendencies manifested in film productions created at domestic studios. I. Zubavina observes how the breath of time changes the aesthetics of national cinema, how painfully these changes sometimes occur, but the author does not doubt their regularity and necessity.

Cinematic art plays a very important role in the culture of the United States. Every year, film companies in the United States release hundreds of films that attract millions of viewers to theaters and bring in billions of dollars. Today, Hollywood cinema is an ideological tool — a symbol of modern America and a means of shaping the country's image on the world stage.

"A nation that does not know its history is a nation of the blind," Oleksandr Dovzhenko said. And cinema is an extremely apt tool to record this story. Therefore, Ukrainian cinema must live. So it will be!

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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 further development of the world film process in the 1940s and 1960s was associated with the emergence of various directions that testified to the interesting searches and experiments that took place in its bowels. Prominent artists of world cinema stood near their origins. Thus, the phenomenon of "Italian neorealism" was associated with the names of R. Rossellini - "Rome - an open city", "Paisa"; V. De Sica - "Bicycle Thieves", "Umberto D.", "The Roof"; D. De Santis - "There is no peace under the olives", "Rome, 11 o'clock"; L. Visconti - "The Earth Trembles", "The Most Beautiful", whose creativity was stimulated by the artistic heritage of the outstanding Italian writer J. Verga.