At the heart of the method we use to analyse national culture and the interaction of the different arts is the idea of how cinema established its prestige in the course of the era under consideration (the 1920s and 1930s) as a leading popular art. In this role it does not simply comment on, but reflects and actively participates in the daily lives of vast masses of people.In the process, they become a cinema audience. And they begin to bear its characteristics not only while they are in the film hall, but also outside it - in their communication with other artworks, in their discovery of the modern aspects of everyday life, in their contact with other people in general.  

Alongside this, cinema is becoming one of the key instruments for changing the perception of reality in general. These transformations impose new principles of apperception, restructuring the functioning of memory and imagination. However, such changes are only decisive when they affect very large groups of society at the same time. In Bulgaria, this happened precisely in the 1920s and 1930s, because it was then that the critical mass of cinema viewers emerged, influencing the attitudes and patterns that determined the various forms of society's existence.   

The pursuit of archaeology is generally associated with the revelation of distinct cultural layers, in which the complex image of a bygone time is captured. We gain insight not only into a certain aspect of life in a particular era, but into its complex image, including lifestyle, culture, art, power and social structures, historical and natural catastrophes. A cultural approach to the cinema history helps to create such reconstructions, which provide insights not so much into aesthetic achievements as into how cinema reflects the social ideas of a particular era, the practices of different kinds of communication and cultural consumption.

Last but not least, studying the being of the cinema in past historical contexts helps us to understand its contemporary existence. Somehow the phrase "how people lived then" always contains as a subtext "how we live today".In this sense, examining topics such as "what cinema was like then", "what films people watched in the 1920s and 1930s", "how society related to cinema" always unconsciously refer to the same questions addressed to today.