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Such a significant phenomenon as Ukrainian poetic cinematography has been in the circle of scientific interests of L. Bryukhovetska for a long time. Perhaps, that is why the chapter written by this author is marked by special thoroughness and persuasiveness. Separately, it is worth noting the detailed filmography, which gives the chapter even greater scientific value.

This fate did not escape actors: yes, John Wayne, Ridley Scott were associated with westerns, Edward Robinson - with gangster films, John Crawford and Barbara Stanwyck - with melodramas, Boris Karloff, Bela Lugosi - with horror films, Bruce Willis, Arnold Schwarzenegger, Sylvester Stallone - with action films, Jim Carrey, Leslie Nilsson - with comedies. The most popular cinematographic genre is detective: showing crimes, their investigation and identification of the guilty. Varieties of this genre are action, or action, western, gangster film, martial arts film and some thrillers.

Each era, each generation examines and studies the history of art from its own point of view. This constitutes the same subjective knowledge of objective truth. The history of Ukrainian cinema began in the 20th century. already at the end of the 20s. One of the first books that highlighted the history of domestic cinema was Ya. Savchenko's book "The Birth of Ukrainian Soviet Cinema" (1930). Years of repressions and wartime disasters did not contribute to the emergence of fundamental works of film studies. And only at the end of the 1950s, three books of essays "Ukrainian Soviet Cinema" published by the Academy of Sciences of the Ukrainian SSR appeared. Its authors I. Kornienko, A. Zhukova, G. Zhurov, A. Romitsyn provide a systematic picture of Ukrainian cinema from the post-revolutionary years to the post-war years. It is interesting that in the early 1960s, the American film critic B. Berest published his work "The History of Ukrainian Cinema" (1962), which was largely polemical about the point of view of Soviet historians.

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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).

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.