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The film "Shadows of Forgotten Ancestors" was conceived as a screen adaptation, but this film had a different fate - to become a manifesto of a whole direction, which was called "poetic cinema". This direction had the greatest publicity in the context of Ukrainian cinematography of the specified period.

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.

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."

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Avant-garde experiments cover almost all the leading cinematographies of the world. A bright page in the history of cinematography of the 20s is connected with the cinematography of the Soviet period, in particular with the work of L. V. Kuleshov (1899–1970) - "The Extraordinary Adventures of Mr. West in the Country of the Bolsheviks", "Death Ray", etc. - which, based on based on his own "model theory", created the First School of Film Actors (O. Khokhlova, B. Barnet, V. Pudovkin, S. Komarov, etc.); Dzygy Vertov (1896–1954) - an outstanding documentarian, the founder of journalistic cinema ("Sixth part of the world", "Symphony of Donbass") and the FEKS group (Factory of Eccentric Actor), which was organized by H. M. Kozintsev and L. 3. Trauberg , who in their artistic experiments relied on the principles of eccentricity ("Overcoat", "SVD", "New Babylon").

The French "new wave" is directly associated with the work of J.L. Godard - "On the Last Breath"; F. Truffaut - "400 blows"; A. Rene - "Hiroshima, my love." The films of these directors were characterized by improvisation, reportage, which enabled artists to depict the absurdity of the world, the cruel laws of society that oppress the individual. The French invariance of the philosophy of existentialism, which was represented by the concepts of J.-P. Sartre, A. Camus and S. de Beauvoir.