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Television (from the Greek ieie - far and the Latin iikio - vision) occupies a significant place in popularizing the art of cinema. Recently, it has become an important means of mass communication, without which it is impossible to imagine today's life. Television has its own genre structure, which it constantly develops and improves. That is why television is considered an integral factor in the cultural process today and occupies a special place in the life of a modern person.

New Ukrainian film art The rapid growth of Ukrainian cinema began relatively recently. Even at the beginning of the 21st century, new Ukrainian films remained invisible to the Ukrainian audience, and there was not even a word about the world one. In recent years, the situation has changed radically. The film is noticed, it regularly appears on the big screens and enters world film festivals. The Law "On State Support of Cinematography in Ukraine", adopted in 2017, unlike its previous version, increased the possibilities of state funding. New mechanisms aimed at supporting cinematography are being implemented: strengthening the protection of copyright and audiovisual rights on the air, financing of television series. Such initiatives should form a balanced system of the film process and everything related to it: film education, film production and film distribution. The law makes it possible to partially recover qualified expenses for the promotion of cinematography at the national level. In this way, film studios and cinemas "on wheels" are supported in small cities of Ukraine.

A special place in the book is occupied by a purely theoretical approach to the phenomena of Ukrainian cinema offered by V. Horpenko. The author considers the history of cinema as an architectural typology, focusing on the analysis of a variety of types, genres, stylistic directions, on the transformation of life observations into specific, concrete forms of artistic works. Studying the director's score of various screen works based on their genre and stylistic features, the author singles out separate systems of language production in cinema - epic, lyrical, lyrical-epic and dramatic, seeing in their manifestation and interaction in specific screen texts the key to creating a scientific history of cinema.