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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.

Television (from the Greek ieie - far and the Latin iikio - vision) occupies a significant place in popularizing the art of cinema. Recently, it has become an important means of mass communication, without which it is impossible to imagine today's life. Television has its own genre structure, which it constantly develops and improves. That is why television is considered an integral factor in the cultural process today and occupies a special place in the life of a modern person.

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.).