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V. Skurativskyi, considering the film process of the totalitarian era, resorts to convincing generalizations, searching for certain regularities according to which the cinematography of that era existed and developed. Analyzing the cinematographic works of the 1920s, S. Trimbach traces film processes in the context of national culture, highlighting the personality of O. Dovzhenko in a "close-up", emphasizing how fateful the appearance of this artist was for Ukrainian cinema.

Despite the crisis of the US economy in the 1930s, the American cinematography of this period experienced the highest rise and prosperity - its "golden age". The viewer wanted to watch movies more than ever. This unexpected, at first glance, situation was explained quite simply. Along with exquisite elitist paintings by J. Ford (1895-1974) "The Grapes of Wrath", "Young Mr. Lincoln", W. Wyler (1902-1981) "The Dead Corner", "The Foxes", O. Wells (1915-1985) " Citizen Kane", which admired for its innovation in the field of drama, in the system of expressive means, stunned with its psychological depth and social significance, commercial genres are becoming widespread: gangster films, horror films, melodramas, musicals, westerns, etc. So, American cinema of the 1930s performed a certain compensatory function, distracting the viewer from life's problems.

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.

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A text dedicated to television (by I. Pobedonostseva) stands a little apart from the general picture. And yet its appearance seems quite logical in the general structure of the book. After all, today most of the films become the achievement of a wide audience precisely thanks to their demonstration on the TV screen. In addition, television makes it possible to introduce the younger generation to the heritage of cinematic classics. Essays are thought to be just the beginning. They will become the foundation of the publication, built on a systematic and consistent presentation and analysis of the processes and phenomena of domestic cinema.

The essay devoted to the history of animated cinema belongs to O. Shupyk, the author of numerous articles and books about Ukrainian animation. Having chosen the historical-theoretical aspect of presenting the material, the author singles out the main periods of formation and development of domestic animation. Paying attention to the development of new genre and stylistic solutions, O. Shupyk emphasizes the dynamic development of this type of cinematography, the appearance in its aesthetic space of philosophical parables, eccentric comedies, satirical-grotesque films on modern themes. Moreover, attention is not lost to national thoughts, fairy tales, legends, which were resolved in the folklore-epic vein. The process of changing generations, which resulted in a kind of fruitful competition, does not pass by the author's attention: the youth grew up "on the shoulders" of their predecessors, the "living classics" often followed the path of the searches that young artists were making.