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At the same time, cinematography can by no means be called a "technical" art. Man's primordial need for a figurative understanding of reality gave birth to this mass form of art. Cinema is synthetic in nature, it combines elements of literature, theater, painting, music, choreography. That is why cinematography operates with many expressive possibilities borrowed from other forms of art. At the same time, cinema has its own specific means and techniques, in particular: perspective (angle of view of the film camera), change of plans (general, medium and large), montage, which combines individual frames in a logical sequence and makes it possible to convey the emotional and psychological tension of the episode.

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.

The concept of film genre began to take shape with the establishment of the Hollywood studio system. It helped systematize the production of films and facilitated their promotion to the market. Each studio specialized in the production of films of a certain genre: Paramount Pictures produced comedies, Universal Studios - horror films, Metro-Goldwyn-Mayer - musicals, etc. At the same time, some directors and actors began to associate the audience with specific genres of movies: director Alfred Hitchcock — with thrillers, Jeffrey Ford — with westerns, Douglas Sirk — with melodramas, Wes Craven and Lamberto Vava — with horror films, John By — with action films , Roland Emmerich — with disaster films.

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The second period - the flowering of the artist's talent - led to the creation of O. Dovzhenko's "Slavic trilogy": "Zvenigora", "Arsenal". "Earth", which testified to the mythopoetic vision of the director, which was reflected in the visual construction of these tapes and had a significant impact on the further development of world cinema. The film "Ivan" performed the function of a "plastic bridge" to the third period in the work of O. P. Dovzhenko - the period of "two Stalinist decades", which resulted in the films "Aerograd", "ITsors", "Michurin". In the work of the director, ancient Slavic mythological ideas, the specifics of Ukrainian national self-awareness, and the philosophical understanding of common human meaningful life problems were organically combined, which led to the introduction of O. P. Dovzhenko's characters into the European cultural context.

In the context of the totalitarian era, the historical film actively developed - "Alexander Nevsky" (director S. Eisenstein), "Bohdan Khmelnitsky" (director I. Savchenko), "Petro I" (director V. Petrov), the trilogy "Zlyva", "Perekop" , "Koliivshchyna" (director I. Kavaleridze).