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The slogan "Trade goes for cinema" appeared in the 20syears of the last century, that is, it is possibleto say, along with Hollywood. Together with a ticket tomoviegoers bought not only the film, but alsoadvertising of goods, which he then toowillingly bought, ideas, way of thinking . Nothing since thenhas changed: the viewer pays exactly the same for advertising, for ideas, forway of thinking . Hollywood is notonly it does not so much reflect reality - it mostly shapes it. Invention of the Lumière brothersproved to be an excellent weapon in the hands of those who 100years ago applied toCalifornia, to there, into an unremarkable town where it is forbidden to drive more than200 cattle, start a new oneera of civilization. Civilizations calledHollywood

Modern Ukrainian war documentaries 2014-? In the conditions of the war since the beginning in the territory of Donbas, the annexation of Crimea and today's full-scale Russian invasion of Ukraine, a "cinema boom" has been observed. "Cyborgs" (2017), "Callsign Banderas" (2018), "Volunteers of God's Chota" (2015), "On the Line of Fire" (2017), "War of Chimera" (2017), "Debaltseve" (2016). And this is only a part of the tapes that appeared on our screens between 2014 and today. All of them are high-quality, dramatic, vivid, and most importantly, Ukrainian, depicting for Ukrainians and the world everything that happened and is happening during the war in our country. Today, it is possible to confidently predict an even bigger "cinema boom" that will happen after Ukraine's victory in the war with Russia. After all, unfortunately, there will be something to show. Moreover, not only Ukrainians, but also foreign artists will shoot. Bo Willimon — an American playwright and screenwriter (screenwriter of "House of Cards") — has already voiced his desire to shoot a documentary about the crimes and genocide committed by the Rashists in the Ukrainian town of Bucha. According to the Buchansk City Council, the screenwriter is already collecting materials while in Ukraine.

That is why, when studying the cinematography of the 1930s, two important aspects should be taken into account: the social one, which prevailed in the cinematography of the Soviet period, German cinema and the cinematography of the United States, and the ontological one, which gave an impetus to the understanding of the processes that took place in the French cinematography of the specified period.