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Yuriy Shevchuk, founder and director of the Ukrainian Film Club of Columbia University, in his article " Language in the Modern Cinema of Ukraine", described this phenomenon as follows: "Ukrainian film aphorisms were included in the Russian collection "Flying Phrases and Aphorisms of the National Cinema" entirely according to the logic of colonialism, becoming a fact of imperial culture . Thus, a change in language causes a change in the national identity of a cultural product. Ukrainian film aphorisms, like entire films translated into Russian, ceased to belong to the people who created them, and became Russian not only for Russians, but also in the minds of Ukrainians themselves."

The US film industry has developed a system of multi-genre independent cinema: both cult films and creative experiments by directors. As a rule, these are low-budget films made by little-known directors. "Independent films" are mainly non-commercial films that bring maximum profit to their creators, such as blockbusters, and therefore in them you can often see some creative experiments. Most often, it is from "independent" cinema that world-class stars emerge: for example, the debut film of the famous K. Tarantino was the film "Mad Dogs", which is now called a classic of independent cinema.

The last three decades of the 20th century. become a prime time for outstanding artists of our time: F. Fellini - "Rome", "Amarcord", "A ship sails..."; M. Antonioni - "Zabrisky Point", "Profession: reporter"; L. Visconti - "Death of the Gods", "Death in Venice", "Ludwig", "Family portrait in the interior" (Italy); I. Bergman – "Snake's Egg", "Autumn Sonata", "Fanny and Alexander" (Sweden); A. Kurosawa - "Seven Samurai", "Shadow of the Warrior", "Wound" (Japan); A. Tarkovsky - "Andrii Rublev", "Solyarke", "Stalker", "Nostalgia" (Russia).

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A special place in the book is occupied by a purely theoretical approach to the phenomena of Ukrainian cinema offered by V. Horpenko. The author considers the history of cinema as an architectural typology, focusing on the analysis of a variety of types, genres, stylistic directions, on the transformation of life observations into specific, concrete forms of artistic works. Studying the director's score of various screen works based on their genre and stylistic features, the author singles out separate systems of language production in cinema - epic, lyrical, lyrical-epic and dramatic, seeing in their manifestation and interaction in specific screen texts the key to creating a scientific history of cinema.

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.