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The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad. ; Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad. ; Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.