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The main genres of American art cinema were finally formed in the 1920s and 1940s. 20th century Consumer demand for film products played a big role in this process, because the cinema depended on how profitable the films were.

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Total Russification, suppression and destruction of Ukrainian culture, large-scale waves of arrests, dissident movement — all this characterizes the years of so-called "stagnation" in Soviet Ukraine. Ukrainian cinema was not recognized and banned by the then Soviet authorities. In those days, films appeared that became famous throughout the Soviet Union, but did you know that they were filmed in Ukrainian film studios? "Only "old men" go to battle" (1972), "D'Artagnan and the Three Musketeers" (1978), "The meeting place cannot be changed" (1979), "Adventures of Electronics" (1979), "A lonely woman wishes get to know each other" (1986).

Horror films include films intended to frighten the viewer, to cause a feeling of anxiety and fear, to create a tense atmosphere of horror or painful anticipation of something terrible. The main characters of such tapes are vampires, werewolves, zombies, etc. As in many genres of cinema, in horror films, a picture of the struggle between Good and Evil appears before the viewer. However, the victory does not always remain with the Good.

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Wide use of archival materials seems to us to be especially valuable in scientific research. This concerns the historical exploration of the Kharkiv researcher V. Myslavsky, dedicated to the first decade of game cinema. The author "equipped" his essay with numerous references to pre-revolutionary film magazines and beautiful iconographic material. Footage from "pre-revolutionary" films is all the more valuable because the tapes themselves have hardly survived.

It is not often that film experts turn to such an important field of cinematographic activity as film education. It can be said that the young researchers R. Roslyak and O. Bezruchko entered the territory that until now remained on the margins of film studies. In addition, few researchers were able to master historical facts with the help of archival documentation. R. Roslyak's text reveals to the reader a kind of terra incognita, because during the Soviet era, Ukrainian film education was persistently relegated to the shadows, weakening it also purely organizationally (closure of the film institute, departure of personnel, etc.).

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