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A language issue During the 1990s and 2000s, domestic film companies actively cooperated with foreign ones, making films and TV series aimed not only at the Ukrainian consumer. Most often, cooperation was carried out with Russian film companies, and since 2014, the volume of such work has decreased to almost zero. There was a reorientation towards European partners for the joint creation of film projects: "Frost" (Lithuania, Ukraine, France, Poland, 2017), "Izy" (Ukraine, Italy, 2017), "Brama" (Ukraine, USA, 2017), etc.

Cinematography has its own genre-genre structure. Unlike other forms of art, the birth date of cinematography can be named absolutely precisely - December 28, 1895. It was on this day in Paris that the brothers O. and L. Lumiere demonstrated their first film program, which contained short documentary sketches: "The exit of workers from factories", "Arrival of the train", etc. The films of the Lumière brothers started the trend towards creating documentary cinema, because in all their pictures a certain immediacy of real reality was recorded.

A characteristic feature of French cinematography in the 30s–60s of the 20th century. was his constant connection with the processes taking place in the philosophical environment. Thus, the creativity of the country's leading cinematographers (M. Carnet, J. Renoir, A. René, etc.), who worked in different historical periods and held different aesthetic positions, was stimulated by the concepts of the outstanding European theoretician A. Bergson. The American "counterculture", which was based on the concept of neo-Freudianism, the idea of youth rebellion, was represented by A. Penn's films "The Chase" and "Little Big Man"; M. Nichols "Graduate"; D. Hopper's "Light Rider"; M. Forman - "One Flew Over the Cuckoo's Nest" etc.

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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.