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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.

The film "Shadows of Forgotten Ancestors" was conceived as a screen adaptation, but this film had a different fate - to become a manifesto of a whole direction, which was called "poetic cinema". This direction had the greatest publicity in the context of Ukrainian cinematography of the specified period.

Paintings by V. I. Pudovkin "Mother", "End of St. Petersburg". "Descendants of Genghis Khan" made a significant contribution to the development of the imaginative nature of cinema, contributed to the enrichment of its montage specificity.

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The literature and social activities of J. Osborn and J. Kerouac had a significant influence on the American film process of the 60s, which determined the figurative and thematic orientation of the "counterculture" phenomenon. The tendency to the emergence of new directions occurs in the 60s of the XX century. and in the countries of Eastern Europe, in particular, in Russia, there is a "movement of the sixties", which in the art of cinema is associated with the work of M. Khutsiev - "Zastava Ilyich" and "July Rain"; A. Tarkovsky - "Ivan's Childhood"; G. Danelia - "I walk around Moscow", "Don't be sad", and became a cinematic reflection on the "Khrushchev thaw".

A characteristic feature of French cinematography in the 30s–60s of the 20th century. was his constant connection with the processes taking place in the philosophical environment. Thus, the creativity of the country's leading cinematographers (M. Carnet, J. Renoir, A. René, etc.), who worked in different historical periods and held different aesthetic positions, was stimulated by the concepts of the outstanding European theoretician A. Bergson. The American "counterculture", which was based on the concept of neo-Freudianism, the idea of youth rebellion, was represented by A. Penn's films "The Chase" and "Little Big Man"; M. Nichols "Graduate"; D. Hopper's "Light Rider"; M. Forman - "One Flew Over the Cuckoo's Nest" etc.