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A musical film is a musical or an operetta transferred from the stage to the screen. Attributes of these films are a large number of songs, dances, bright costumes and scenery. A musical film must have elements of melodrama.

Cinematic art plays a very important role in the culture of the United States. Every year, film companies in the United States release hundreds of films that attract millions of viewers to theaters and bring in billions of dollars. Today, Hollywood cinema is an ideological tool — a symbol of modern America and a means of shaping the country's image on the world stage.

Oleksandr Petrovych Dovzhenko (1894–1956) is a Ukrainian film director, writer, artist, founder of Ukrainian film art. A specific feature of O. P. Dovzhenko's work is the movement from the mythological structures of the ancient Slavic worldview to "social order" and social myth-making, which determined the peculiarity of the periodization of the director's legacy. The first period is the stage of apprenticeship in the work of O. Dovzhenko, which is associated with the paintings "The Berry of Love". "Vasya the reformer" and "The Diplomat's Bag".

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Materials devoted to non-fiction films are more modest in scope. Analyzing its problems, S. Marchenko places the series "Unknown Ukraine" in the center of attention, tracing the ideological and thematic transformation of domestic non-fiction cinema, the aspiration of documentary filmmakers to acute journalistic and searching nature. The author emphasizes the complexity of the creative tasks faced by filmmakers who consider the documentary reproduction of historical events and their interpretation according to historical documents, not ideological schemes.

The appearance of "Essays" was a qualitatively new step in the development of domestic film studies. A wide range of scientists belonging to different schools and directions in film studies took part in the work. The authors did not set themselves the goal of consistently covering all stages of the formation and development of cinematography on the territory of Ukraine. But, without a doubt, the compilers and authors managed to focus on key moments, trace the most important regularities of the filmmaking process. Issues that have remained on the margins of the historical science of cinema have come into focus. Separate chapters are devoted to both local phenomena and entire historical stages, and the authors mostly build their research on a solid theoretical foundation.