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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.

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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.

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).

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The 1960s and 1970s were rich in monographic publications, which covered specific problems of domestic cinema. In the 70s, the works of I. Kornienko "Half a century of Ukrainian Soviet cinema" (1970), "Cinema of Soviet Ukraine" (1975) were published. The appearance of these books made it possible to create an academic history of Ukrainian cinema. Of the planned three volumes, only two were published. And there was a certain regularity in this. The fast-moving course of events, the change in social attitudes made the third volume obsolete already in the manuscript. Did this mean the rewriting of history, about which some learned men lamented? Probably not. It's just that history began to reveal its secrets, which had been carefully hidden for a long time. And artistic phenomena, accompanied, it would seem, by a fixed look, suddenly appear in their other renewed quality.

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.

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