The drama in the movie has emerged with the evolution of traditional cry according to the development of time. As the theater approached the truth, it was inevitably forced to give up some features of crying, so that instead of drama, the most important differentiation between drama and drama is that heroes now come out of their lives in a closed, narrow, unrelated world and take part in a certain circumstance and concrete conditions of a certain age.
Heroes, contrary to their cry, are now in the midst of everyday life in drama; conditions, behaviors are determined by the conditions of daily life. In short, the traditional crying has come out dramatically in the footsteps. The drama hero has a certain social situation, and behaviors arising from it. The dramatic structure is established by the influence of the social conditions that the hero lived in, rather than the emotions and the passions. That is why the drama is closer to the cinematographer than the cry, because it is the product of everyday reality we live in.
In the drama, too, the hero is faced with an extraordinary situation. This extraordinary situation is overcome by the extent to which its social structure, consciousness, and self-surrounding conditions permit it.