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Hollywood is notonly movie studios andabode of the stars, thisalso a huge television business,record companies, commercial publishing houses , tourist offices.In a word, gigantica machine that continuously delivers entertainment and100% subject to lawsbusiness world. There is no profit herefrom the box office is only a thin onetop layer ANDthe lion's share of profits to companiesprovide product placement(let's remember, for example , howin the film "The Matrix" ineveryone flashes before our eyes every secondpossible products of the Samsung brand, andlet's try to imagine how much she earned from thisfilm studio), sale of rights tofilms for airlines, use of heroes ingames/comics/advertisements , releasesouvenir products.Let's not forget, no matter howI wanted to forget about it, that Hollywood cinema is quietalso serves state interests. Often the customer of that orthere is another tapePentagon. "The green onesberet" by John Ray, "The best shooter" by Tony Scott,"Pearl Harbor" by Michael Bay, "A Dayindependence " by Roland Emmerich, "Thirty minutes aftermidnight" Kathryn Bigelow, "Man fromof steel" by Zack Snyder and many other films in whichor else a good word soundsabout the state and its military power, removedto order and with solid financial participationPentagon.

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Charles Spencer Chaplin (1889–1977) is an American film actor and film director. The phenomenon of Ch. Chaplin is the embodiment of the theory of "author's cinema" (the artist simultaneously acted as a screenwriter, director, actor, and composer in most of his films). His artistic output will forever remain in the history of world cinematography as a bright example of interpretation of the "comic" category. Chaplin's creative path includes three stages. The first is the period of the artist's formation, when experience was accumulated, active experimentation was carried out in the field of form and style, pictorial structure.

Materials devoted to non-fiction films are more modest in scope. Analyzing its problems, S. Marchenko places the series "Unknown Ukraine" in the center of attention, tracing the ideological and thematic transformation of domestic non-fiction cinema, the aspiration of documentary filmmakers to acute journalistic and searching nature. The author emphasizes the complexity of the creative tasks faced by filmmakers who consider the documentary reproduction of historical events and their interpretation according to historical documents, not ideological schemes.