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The release of the film M.Forman's "Amadeus" is a brilliant interpretation of creative and personal confrontationMozart and Salieri.In this decade, R. Redford, J. Lange, M.Strip - worthyinheritors of the great acting traditions of the US cinema.Significant gainsAmerican about cinemaof the last two decades are primarily associated with the names of F.F.Coppola (the third part of "The Godfather", "Bram Stoker's Dracula", etc.);S. Spielberg("Schindler's List ", "Jurassic Parkperiod" etc.); R.Zemeckis ("Forrest Gump"); D. Lynch("Blue Velvet ", "Your Shke", etc.).However, at the same time, many others appear on the screensthird-rate film production.Nowadays, almost all the modern ones are included in the Hollywood assembly linefilm genres tending tointeraction: a gangster movie –"Honor seven! Prizzi" by J. Hustonand "Married to the Mafia"J. Demmy (comedy invariance of the genre), "Oncein America" ​​S. Leone, "The WayCarlito"B. de Palma, "On the Crest of the Wave" by K. Biglow (with elements of drama); thriller - a synthesis of detective andhorror film - "Heart of an Angel" by A. Parker, "Silence of the Lambs" by J. Demmy, "Cape Fear" by M.

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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.

Materials devoted to non-fiction films are more modest in scope. Analyzing its problems, S. Marchenko places the series "Unknown Ukraine" in the center of attention, tracing the ideological and thematic transformation of domestic non-fiction cinema, the aspiration of documentary filmmakers to acute journalistic and searching nature. The author emphasizes the complexity of the creative tasks faced by filmmakers who consider the documentary reproduction of historical events and their interpretation according to historical documents, not ideological schemes.

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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.

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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