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The '''history of Russian animation''' is the visual art form produced by Russian animation makers. As most of Russia's production of animation for [[film|cinema]] and television were created during [[Soviet Union|Soviet]] times, it may also be referred to some extent as the '''history of Soviet animation'''. It remains a nearly unexplored field in [[film theory]] and history outside Russia.

== Beginnings ==
[[File:Cameraman's revenge.JPG|thumb|Scene from Ladislas Starevich's ''The Cameraman's Revenge'' (1911).]]
The first Russian animator was [[Alexander Shiryaev]], a principal ballet dancer and choreographer at the [[Mariinsky Theatre]] who made a number of pioneering [[stop motion]] and traditionally animated films between 1906 and 1909. He built an improvised studio at his apartment where he carefully recreated various ballets — first by making thousands of sketches and then by staging them using hand-made puppets; he shot them using the [[17.5 mm film|17.5&nbsp;mm]] Biokam camera, frame by frame. Shiryaev didn't hold much interest in animation as an art form, but rather saw it as an instrument in studying human plastics.<ref>Kisselgoff, Anna. [https://query.nytimes.com/gst/fullpage.html?res=9A07E0DD1438F937A25752C0A9639C8B63 Critic's Notebook; Pioneering Russian Films Show Ballet Master's Wit]. ''New York Times''. January 14, 2005. Accessed on: June 23, 2009.</ref><ref name='lord'>[[Peter Lord|Lord, Peter]]. [https://www.theguardian.com/film/2008/nov/14/animation-ballet The start of stop-frame]. ''The Guardian''. November 14, 2008. Accessed on: June 23, 2009.</ref><ref name='alovert'>[[Nina Alovert]]. ''[http://www.russian-bazaar.com/ru/content/6316.htm Belated Premier. Past Pages Come to Life]'' article from the Russian Bazaar magazine, January, 2005 (in Russian)</ref> They were mostly forgotten during the [[Soviet Union|Soviet]] period, mentioned only in the memoirs of his students.<ref name='alovert' /> In 1995, they were re-discovered by a ballet historian Viktor Bocharov who got hold of Shiryayev's archives and released ''A Belated Premiere'' documentary in 2003 with fragments of various films. All of them were later restored and digitized with the help from the [[Pordenone Silent Film Festival]] and [[Aardman Animations]].<ref name='lord' /><ref>[https://thebioscope.net/2008/10/22/ Pordenone diary 2008 – day seven] at The Bioscope blog, October 22, 2008</ref>

The second person to independently discover animation was [[Ladislas Starevich|Vladislav Starevich]]. Being a trained biologist, he started to make animation with embalmed insects for educational purposes, but soon realized the possibilities of this medium to become one of the undisputed masters of [[stop motion]] later in his life. His first few films, made in 1910, were [[black comedy|dark comedies]] on the family lives of cockroaches, and were so revolutionary that they earned him a decoration from [[Nicholas II of Russia]]. He produced a number of other popular animated films with insects at the [[Aleksandr Khanzhonkov]]'s studio where he also worked as a cinematographer and a director of live-action films, sometimes combining live action with stop motion animation, as in ''[[The Night Before Christmas (1913 film)|The Night Before Christmas]]'' and ''A Terrible Vengeance'' (both from 1913). Starevich left Russia after the [[October Revolution]], and for many years, the animation industry was paralyzed.

== After the revolution ==
[[File:1924. Межпланетная революция.ogv|thumb|''Interplanetary Revolution'' (1924).]]
In the early years after the [[October Revolution]], Russian animation remained undeveloped compared to [[Cinema of the Soviet Union|cinema]] or [[Soviet dramatists|theatre]]. The 1923 [[agitprop]] animated short ''Today'' directed by [[Dziga Vertov]] and animated by Ivan Belyaev became a pioneering work and was followed by other [[cutout animation|cutout]] films (called flat marionettes at the time) in style of [[Political cartoon|editorial cartoons]] that satirized bourgeoisie, Church and Western countries, drawn and animated in a sketchy manner; those included films and sketches by Vetrov and Aleksandr Bushkin for [[State Committee for Cinematography|Sovkino]] such as ''{{ill|Soviet Toys|ru|Советские игрушки (фильм)}}'', ''Humoresques'' and episodes of ''[[Kino-Pravda]]''.<ref name="bendazzi">''[[Giannalberto Bendazzi]] (2016)''. [https://books.google.com/books?id=G63MCgAAQBAJ Animation: A World History: Volume I: Foundations - The Golden Age] at [[Google Books]], p. 80–81, 79, 174-177</ref><ref>[https://www.nytimes.com/2007/03/13/movies/homevideo/13dvd.html Animated Soviet Propaganda] review at [[The New York Times]], March 13, 2007</ref><ref>[http://animator.ru/db/?ver=eng&p=show_person&pid=2906&sp=2 Alexander Buskin's filmography] at [[Animator.ru]]</ref>

In 1924, [[Mezhrabpomfilm|Mezhrabpom-Rus]] released the critically acclaimed ''[[Interplanetary Revolution]]'' that satirized ''[[Aelita]]''. It also utilized [[cutout animation]] along with the [[constructivism (art)|constructivism]] art style and was developed independently by three artists — [[Nikolai Khodataev]], Zenon Komissarenko and [[Yuri Merkulov]] — who headed the first Soviet animation studio at the [[Gerasimov Institute of Cinematography|All-Union Technicum of Cinematography]]. In 1925, it was followed by a government-backed ''China in Flames'' made by the same team along with [[Ivan Ivanov-Vano]], [[Vladimir Suteev]] and the [[Brumberg sisters]]. With 1000 [[reel|meters of film]] and 14 [[frames per second]] it ran over 50 minutes at the time, which made it the first Soviet animated [[feature film]] and one of the first in the world.<ref name="over">''Larisa Malyukova (2013)''. OVERcinema. Modern Russian animation. — Saint Petersburg: Umnaya Masha, p. 264–265, 268 {{ISBN|978-5-9904193-1-5}}</ref><ref name="kapkov">''Sergey Kapkov (2006)''. [[Encyclopedia of Domestic Animation]], p. 14–21</ref>

During the late 1920s, the industry started moving away from agitation. In 1927, Merkulov, Ivanov-Vano and {{ill|Daniil Cherkes|ru|Черкес, Даниил Яковлевич}} directed the first Soviet cartoon aimed at children — ''{{ill|Senka the African|ru|Сенька-Африканец}}'' based on the fairy tale in verse by [[Korney Chukovsky]]. Made at [[Mezhrabpomfilm|Mezhrabpom-Rus]], it combined [[traditional animation]] and some live action scenes.<ref name="kapkov" /><ref>[https://www.youtube.com/watch?v=Q_Rq7CIsa9s Senka the African] at [[YouTube]], public domain (English subtitles)</ref><ref name="vano">''[[Ivan Ivanov-Vano]] (1980)''. Frame by Frame. — Moscow: Iskusstvo, 239 pages, p. 34, 98, 102, 112–129, 150, 12–13, 223–226</ref> Same year Ivanov-Vano and Cherkes worked on ''{{ill|The Skating Rink (1927 film)|ru|Каток (мультфильм)|lt=The Skating Rink}}'', another hand-drawn short that featured a distinguishable art style (white lines against black background).<ref>[https://www.youtube.com/watch?v=o_dYRYyFNXY The Skating Rink, original version] at [[YouTube]], public domain (English subtitles)</ref> It was written and directed by [[Yuri Zhelyabuzhsky]] and [[Nikolai Bartram]], founder of the Moscow [[Toy Museum]], who also produced ''Bolvashka's Adventures'' that combined live action and [[stop motion]] animation in a story about a [[Pinocchio]]-like wooden boy.<ref name="bendazzi"/><ref>Semyon Ginzburg. [http://2011.russiancinema.ru/index.php?e_dept_id=1&e_person_id=10905 Bolvashka's Adventures] {{Webarchive|url=https://web.archive.org/web/20170828232720/http://2011.russiancinema.ru/index.php?e_dept_id=1&e_person_id=10905|date=2017-08-28}} article from the ''Hand-Drawn and Stop-Motion Animated Films'' book (1957) (in Russian)</ref><ref>[http://animator.ru/db/?ver=eng&p=show_film&fid=2330 Bolvashka's Adventures] at [[Animator.ru]]</ref> The idea was extended in a spiritual successor — ''Bratishkin's Adventures'', the first Soviet [[animated series]] created between 1928 and 1931 by Yuri Merkulov and [[Aleksandr Ptushko]] at [[Mosfilm]].<ref>[http://encyclopedia2.thefreedictionary.com/Aleksandr+Lukich+Ptushko Aleksandr Lukich Ptushko] article from the [[Great Soviet Encyclopedia]]</ref><ref>[https://www.youtube.com/watch?v=lnZwnVUKrT4 It Happened at Stadium (Bratiskin's Adventures) (1928)] at [[YouTube]], public domain (in Russian)</ref><ref name="ptush">[http://kinoart.ru/archive/2015/05/gulliverkino-obratnaya-storona-skazki-aleksandr-ptushko-innovatsii Gulliverkino: Far Side of the Fairy Tale. Aleksandr Ptushko - Innovations] article from [[Iskusstvo Kino]], May 5, 2015 (in Russian)</ref>

[[File:Dzhabzha.webm|thumb|left|A scene from ''Dzhyabzha'' (1938).]]
In 1928, Nikolai Khodataev, his sister [[Olga Khodataeva]] and the Brumberg sisters produced a hand-drawn animated short ''{{ill|The Samoyed Boy|ru|Самоедский мальчик}}'' stylized as traditional [[Nenets people|Nenets]] art that followed a dramatic narrative and used an innovative technique of printing on thin celluloid.<ref name='over' /><ref name='bendazzi' /> A 24-minute stop motion film ''The Adventures of the Little Chinese'' was directed same year by {{ill|Maria Benderskaya|ru|Бендерская, Мария Васильевна}} and could be considered a return to the traditions of [[Ladislas Starevich]].<ref name='kapkov' /><ref>[http://www.kinoglaz.fr/u_fiche_film.php?num=5196 The Adventures of the Little Chinese] at kinoglaz.fr</ref>

[[Mikhail Tsekhanovsky]]'s ''[[Post (film)|Post]]'' (1929, cutout/cel animation) was both a return to constructivism traditions and a big step forward: it was successfully exported and widely shown around the world, while in the USSR it changed the perception of animation as an art form. It also became the first [[film colorization|colorized]] Soviet animated film and one of the first to get a musical score and a voiceover by [[Daniil Kharms]].<ref name='bendazzi' /><ref name='kapkov' /><ref>Svetlana Kim, Aleksandr Deryabin. ''[http://www.kinozapiski.ru/ru/article/sendvalues/626/ A Breath of Freedom. Diaries of Mikhail Tsekhanovsky]'' at the [[Naum Kleiman|Notes by Film Historian]] magazine, 2001 {{ISSN|0235-8212}} (in Russian)</ref> Mikhail and his wife [[Vera Tsekhanovskaya]] led an animation studio at [[Lenfilm]] where a number of distinctive hand-drawn and stop motion films were created throughout the 1930s, including the much-praised ''{{ill|Dzhyabzha|ru|Джябжа}}'' (1938) by {{ill|Mstislav Pashchenko|ru|Пащенко, Мстислав Сергеевич}}.<ref name='over' /><ref name='guylan'>Eleonora Guylan, Peter Bagrov. ''[http://www.kinozapiski.ru/ru/print/sendvalues/429/ Once upon a time... Memoirs about the Leningrad pre-war animation]'' at the [[Naum Kleiman|Notes by Film Historian]] magazine, 2005 {{ISSN|0235-8212}} (in Russian)</ref><ref name='asen2'>''Sergei Asenin (2012)''. The World of Animation // The Tropes of Soviet Animation, p. 45–46. — Moscow: Print-on-Demand, 303 pages {{ISBN|978-5-458-30516-7}}</ref> The team actively applied color using the original [[dye-transfer process]] invented by Lenfilm specialists, similar to [[Technicolor]].<ref name='color' />

[[File:Balda HQ (1933).webm|thumbnail|The Bazaar scene from ''[[The Tale of the Priest and of His Workman Balda (film)|The Tale of the Priest and of His Workman Balda]]''.]]
In 1933, the couple collaborated with [[Dmitri Shostakovich]] and [[Alexander Vvedensky (poet)|Alexander Vvedensky]] on the first traditionally animated Soviet feature — ''[[The Tale of the Priest and of His Workman Balda (film)|The Tale of the Priest and of His Workman Balda]]'', a satirical opera loosely based on the fairy tale in verse by [[Alexander Pushkin]] and stylized as [[ROSTA posters]]. Despite many problems, including the infamous [[Muddle Instead of Music|bullying of Shostakovich]] in press, the film was nearly finished and had been stored at Lenfilm until 1941 when almost all of it was destroyed in fire caused by the [[Siege of Leningrad|bombings of Leningrad]].<ref>''John Riley (2005)''. [https://books.google.com/books?id=YZV2I0cUwtAC&q=balda Dmitri Shostakovich: A Life in Film]. — New York: I.B.Tauris, 150 pages {{ISBN|1 85043 709 2}}</ref> Tsekhanovsky is also credited with invention of [[graphical sound]] along with [[Arseny Avraamov]] and {{ill|Evgeny Sholpo|ru|Шолпо, Евгений Александрович}}. They were challenged by a group led by {{ill|Aleksandr Vasilievich Ivanov|ru|Иванов, Александр Васильевич (художник-мультипликатор)|lt=Aleksandr Ivanov}} who made a number of animated shorts based on their own idea of "drawing paper sound".<ref>[https://books.google.com/books?id=957xAgAAQBAJ&pg=PA22 Sound, Speech, Music in Soviet and Post-Soviet Cinema], 2014 by Indiana University Press, p. 22, 33 {{ISBN|978-0-253-01110-7}}</ref><ref>[https://www.youtube.com/watch?v=6U4lRtjw9q0 The Crow's Dance] by Nikolai Voinov, 1933, public domain (in Russian)</ref>

In 1935, [[Aleksandr Ptushko]] directed ''[[The New Gulliver]]'', one of the world's first full-length animated movies that combined detailed [[stop motion]] with a live actor (a 15-year-old boy). The film featured from 1,500 to 3,000 different puppets with detachable heads and various facial expressions, as well as camera and technical tricks.<ref name='ptush' /><ref>[https://www.nytimes.com/2001/12/30/movies/the-year-in-review-film-now-in-america-the-films-of-the-soviet-walt-disney.html Now in America, the Films of the Soviet Walt Disney] article from [[The New York Times]], December 30, 2001</ref>

[[File:1937. Сказка о рыбаке и рыбке.webm|thumb|left|''The Tale of the Fisherman and the Fish'' (1937) by [[Aleksandr Ptushko]].]]
The international success of the movie allowed Ptushko to open his own "division of 3D animation" at [[Mosfilm]] which also worked as a school for beginning animators. In four years, they created a dozen of stop motion shorts; most of them, such as {{ill|A Fox and a Wolf (1936 film)|ru|Лиса и Волк (мультфильм, 1936)|lt=''A Fox and a Wolf''}} (1936), were based around Russian folklore, traditional art (with the involvement of artists from [[Palekh]]) and could be watched in full color thanks to the newly invented three-color film process by {{ill|Pavel Mershin|ru|Мершин, Павел Михайлович}}.<ref name='color'>Nikolai Mayorov. [http://www.kinozapiski.ru/data/home/articles/attache/196-209.pdf The Color of Soviet Cinema] from the Film Expert's Notes magazine № 98, 2011 (in Russian)</ref> In 1939, Ptushko directed another feature — ''[[The Golden Key (1939 film)|The Golden Key]]'' based on the popular Soviet [[Buratino|fairy tale]]; it also combined stop motion with live action, but to a lesser extent.<ref name='ptush' />

Simultaneously, [[Alexandre Alexeieff]] who fled for [[France]] during the [[Russian Civil War]] developed a [[pinscreen animation]] technology along with his wife, [[Claire Parker]] that allowed for a wide spectre of special effects achieved through the use of hundreds of thousands of pins that formed different patterns. Despite the status of [[white émigré]] in the USSR his films were well known among Russian professionals and inspired various artists, most famously [[Yuri Norstein]]. In the mid-1990s Alexeieff's daughter visited Moscow and presented her father's works to the {{ill|State Central Museum of Cinema|ru|Государственный центральный музей кино}}. Today he is commemorated as a patriarch of Russian animation.<ref>Irina Margolina, [[Eduard Nazarov]]. ''Animation from A to Z. Alexandre Alexeieff'' documentary series, episodes 3–4, [[REN TV]], 1996</ref><ref name='asenin'>''Sergei Asenin (1983)''. [https://books.google.com/books?id=G8_9AgAAQBAJ The Wisdom of Fiction: Masters of Animation about Themselves and Their Art]. — Moscow: Iskusstvo, p. 37</ref>

== Soyuzmultfilm, 1936–1960 ==
{{main|Soyuzmultfilm}}
In September 1933, the Principal Management of the Photo-Cinematographic Industry (GUKF) ordered to provide animators with facilities and equipment; meanwhile, specialized script-writers were hired for Animated feature films.<ref name='bendazzi' /> {{ill|Viktor Fyodorovich Smirnov|ru|Смирнов, Виктор Фёдорович (режиссёр)|lt=Viktor Smirnov}} who headed the [[Amkino Corporation]], a [[New York City|New York]]-based company responsible for distribution of Soviet movies in [[North America]], was given the task to study the animation processes at [[Disney]] and [[Fleischer Studios]].<ref name="bendazzi" /><ref name="cosmop">Kirill Malyantovich. ''[http://www.kinozapiski.ru/ru/article/sendvalues/822/ How they fought cosmopolites at Soyuzmultfilm]'' article from the [[Naum Kleiman|Notes by Film Historian]] magazine, 2001 {{ISSN|0235-8212}} (in Russian)</ref> Next year Smirnov returned to Moscow and founded an Experimental Animation Workshop under the Main Directorate of the Photo-Cinematographic Industry where he, Alexei Radakov, [[Vladimir Suteev]] and {{ill|Pyotr Nosov|ru|Носов, Пётр Николаевич}} started "developing the Disney style".<ref name="bendazzi" /><ref name="cosmop" /> In 1935, [[Walt Disney]] himself sent a film reel with [[Three Little Pigs (film)|Three Little Pigs]] and [[Mickey Mouse]] shorts to the [[Moscow International Film Festival]] that made a lasting impression on Soviet animators and officials.<ref name='bendazzi' />

[[File:1938._Почему_у_носорога_шкура_в_складках.webm|thumbnail|''{{ill|Why Is Rhino's Skin Wrinkly?|ru|Почему у носорога шкура в складках?}}'' by [[Vladimir Suteev]] (1938).]]
On June 10, 1936, the Soyuzdetmultfilm Studio was created in Moscow from the small and relatively independent trickfilm units of [[Mosfilm]], [[Sovkino]], [[Mezhrabpomfilm]] and Smirnov's studio. In a year it was renamed to [[Soyuzmultfilm]]. Three-months retraining courses were organized by the studio administration where animators studied everything, from drawing and directing movies to the basics of music and acting.<ref name="vano" /> For four years some of the leading animators focused on the creation of Disney-style shorts, exclusively using the [[cel]] technique.<ref name="bendazzi" /> From 1937, on they also produced films in full color using the three-color film process by [[Pavel Mershin]].<ref name="color" />

[[File:Grandfather Ivan.webm|thumb|left|Scene from ''Grandfather Ivan'' (1939).]]
In 1938, the team also mastered [[rotoscoping]], or Eclair as it has been known in Russia since the 1920s (after the [[Eclair (company)|Eclair]] video projector). Not everyone was happy with the chosen direction though, and by 1939 many developed their own styles. [[Ivan Ivanov-Vano]] directed {{ill|Moydodyr (1939 film)|ru|Мойдодыр (мультфильм, 1939)|lt=''Moydodyr''}} based on the [[Moydodyr|fairy tale in verse]] which he personally praised as an important step from Disney.<ref name='vano' /> Suteev and Lamis Bredis presented a distinctive [[Uncle Styopa#A 1939 film|Uncle Styopa]] adaptation, while [[Leonid Amalrik]] and {{ill|Vladimir Polkovnikov|ru|Полковников, Владимир Иванович}} converted [[Doctor Aybolit]] stories into a distinctive mini-series that ran from 1939 to 1946 and defined the "Soviet style" of animation.<ref>[http://studio-mir.ru/eng/index.php?p=film&id=40 The Stars of Russian Animation. Film 5. Leonid Amalrik] {{Webarchive|url=https://web.archive.org/web/20210117004918/http://studio-mir.ru/eng/index.php?p=film&id=40 |date=2021-01-17 }} by Irina Margolina and [[Eduard Nazarov]], 2012 (in Russian)</ref> At the same time [[Aleksandr Vasilievich Ivanov|Aleksandr Ivanov]] and {{ill|Dmitry Babichenko|ru|Бабиченко, Дмитрий Наумович}} made a radical shift towards [[agitprop]] and [[socialist realism]] with films such as ''Grandfather Ivan'' and ''War Chronicles''.<ref name='interros'>''Irina Margolina, Natalia Lozinskaya (2006)''. Our Animation. — Moscow: Interros, p. 46–51, 58–63, 146–152, 70–75 {{ISBN|5-91105-007-2}}</ref>

Soon after [[Lev Kuleshov]], then a professor at [[VGIK]], suggested Ivanov-Vano to open and head a workshop under the Art Faculty which became the first official Russian workshop where students studied the art of animation.<ref>[http://www.translate.ru/url/translation.aspx?autolink=yes&direction=re&template=PersonalCorrespondence&sourceURL=http://www.vgik.info/department/hudojnik/ The Art Faculty]{{Dead link|date=August 2024 |bot=InternetArchiveBot |fix-attempted=yes }} at the official [[VGIK]] website</ref> Among Ivanov's first students were [[Lev Milchin]], [[Yevgeniy Migunov]] and {{ill|Anatoly Sazonov|ru|Сазонов, Анатолий Пантелеймонович}}.

[[File:1942. Киноцирк.webm|thumbnail|''Kino-Circus'' by [[Leonid Amalrik]] and [[Olga Khodataeva]] (1942).]]
With the start of [[World War II]] the studio was evacuated to [[Samarkand]] along with some key animators who continued teaching students and producing films, including [[Propaganda in the Soviet Union#World War II|anti-fascist propaganda]]. In 1943, they returned to Moscow and released several kids movies such as ''[[The Tale of Tsar Saltan#Adaptations|The Tale of Tsar Saltan]]'' (1943) by the [[Brumberg sisters]] and {{ill|The Winter's Tale (1947 film)|ru|Зимняя сказка (мультфильм, 1945)|lt=''The Winter's Tale''}} (1945) by Ivanov-Vano — the last film to use the Soviet three-color filming process before the switch to [[Agfacolor]].<ref name='color' /><ref name='vano' /> By that time [[Aleksandr Ptushko|Ptushko]]'s studio at [[Mosfilm]] had been shut down and [[Mikhail Tsekhanovsky|Tsekhanovsky]]'s studio at [[Lenfilm]] — destroyed by a bomb, which basically turned Soyuzmultfilm into Russia's animation monopoly.

Yet even after the war, its resources were very limited. 19 animators from the relatively small Soyuzmultfilm team were killed in action.<ref name='kapkov' /> A whole generation of Leningrad animators either disappeared at fronts or died during the [[Siege of Leningrad]].<ref name='guylan' /> Others returned as war-disabled, like Boris Dyozhkin and Aleksandr Vinokurov (both lost their left eyes), {{ill|Boris Butakov|ru|Бутаков, Борис Петрович}} who got a bullet stuck in his head and {{ill|Vladimir Degtyaryov|ru|Дегтярёв, Владимир Дмитриевич}} who lost his right arm and learned to work as left-handed.<ref>Anna Belonogova. ''[http://www.translate.ru/url/translation.aspx?direction=re&template=PersonalCorrespondence&autotranslate=off&transliterate=off&showvariants=off&sourceURL=http://www.vgik.info/college/history_of_animation/ Heroes of Soyuzmultfilm]'' at the [[VGIK]] website ([https://web.archive.org/web/20170606094130/http://www.vgik.info/college/history_of_animation/ archived])</ref> One of the leading directors, [[Vladimir Suteev]], left the industry on his return for personal reasons.<ref>''Viktor Eryomin (2016)''. [https://books.google.com/books?id=P-gIDAAAQBAJ&pg=PT328 Biographies of the Great Fairy Tale Writers]. — Moscow: Osteon Fond, 531 pages {{ISBN|9781772466751}}</ref>

[[File:Konyok3.jpg|thumb|left|The dance of the [[Firebird (Russian folklore)|firebirds]] from ''[[The Humpbacked Horse (film)|The Humpbacked Horse]]'' (1947).]]
The rest worked intensively to prepare new animators; between 1945 and 1948, four groups of students graduated from VGIK. They also continued releasing short and feature films that brought them international recognition, such as ''[[The Lost Letter (1945 film)|The Lost Letter]]'' (1945) and ''[[The Humpbacked Horse (1947 film)|The Humpbacked Horse]]'' (1947) that was used by [[Walt Disney]] as a teaching tool for his artists.<ref name='vano' /><ref>''Peter Rollberg (2016)''. [https://books.google.com/books?id=gM6QDAAAQBAJ&pg=PA328 Historical Dictionary of Russian and Soviet Cinema]. — [[Rowman & Littlefield]], p. 328 {{ISBN|978-1-4422-6842-5}}</ref> In 1948, {{ill|The Champion (1948 film)|ru|Чемпион (мультфильм)|lt=''The Champion''}} short comedy film was accused of "[[Formalism (art)|formalism]]" and "[[anthropomorphism]]" following the [[Cold War]] anti-Disney campaign. As the art director Yevgeniy Migunov remembered, he floutingly drew backgrounds for his next movie as realistic as possible, and suddenly it became "a golden standard" for the next ten years.<ref name='cosmop' /><ref name='migun'>[http://studio-mir.ru/eng/index.php?p=film&id=43 The Stars of Russian Animation. Film 4. Eugene Migunov] {{Webarchive|url=https://web.archive.org/web/20210116232611/http://studio-mir.ru/eng/index.php?p=film&id=43 |date=2021-01-16 }} by Irina Margolina and [[Eduard Nazarov]], 2012 (in Russian)</ref> Ironically, he would become one of the leading innovators later on.

From 1950 to 1960, the vast majority of animated films were fairy tale adaptations influenced by the works of [[Viktor Vasnetsov]], [[Ivan Bilibin]], [[Mikhail Vrubel]], [[Palekh miniature|Palekh]] and [[Fedoskino miniature]]s and other national styles. The Disney's conveyor method of production with a clear work split was implemented along with a full analog of a [[multiplane camera]]. Eclair ([[rotoscoping]]) also rose to popularity.<ref name='asen2' /> According to the 1951 report by [[Ivan Ivanov-Vano]], it was a temporary measure that served as a teaching tool for beginning animators.<ref name='bend2'>''[[Giannalberto Bendazzi]] (2016)''. [https://books.google.com/books?id=0azMCgAAQBAJ&pg=PA81 Animation: A World History: Volume II: The Birth of a Style - The Three Markets] at [[Google Books]], p. 81, 282–297, 303–309</ref> Many leading actors were involved, such as [[Mikhail Astangov]] who appeared as the beast in ''[[The Scarlet Flower (1952 film)|The Scarlet Flower]]'' (1952).<ref name='shvarts'>Larisa Malyukova's [http://www.animator.ru/articles/article.phtml?id=24 interview] with [[Leonid Shvartsman]] at [[Animator.ru]] (in Russian)</ref>

Some directors made extensive use of this method, while others mixed it with traditional animation as in ''[[The Snow Queen (1957 film)|The Snow Queen]]'' (1957) by [[Lev Atamanov]], arguably the most famous work of that time.<ref name='shvarts' /> Many focused on [[animal painter|animal art]] with little to no use of rotoscoping. All this allowed for a yearly release of prominent feature films with high production values such as ''[[The Night Before Christmas (1951 film)|The Night Before Christmas]]'' (1951), ''[[The Snow Maiden (1952 film)|The Snow Maiden]]'' (1952), ''[[The Enchanted Boy]]'' and ''[[The Frog Princess#Adaptations|The Frog Princess]]'' (1954), ''[[The Twelve Months (1956 film)|The Twelve Months]]'' (1956) and ''[[The Adventures of Buratino (1959 film)|The Adventures of Buratino]]'' (1959).

== The Khrushchev Thaw ==
The first changes happened in 1953 when a puppet division was reopened at Soyuzmultfilm. In 1954, [[Yevgeniy Migunov]] along with an engineer Semyon Etlis produced the first Soviet [[stop motion]] film since [[Aleksandr Ptushko]]: ''{{ill|Karandash and Klyaksa — Merry Hunters|ru|Карандаш и Клякса — весёлые охотники}}'' about the adventures of the Russian clown [[Karandash]] and his dog. According to Migunov, they had to reinvent the whole production process. They organized a technical base, constructed and patented a device for shooting in statics, with a horizontally moving camera and attachable dolls. Also for the first time they used [[ball-jointed doll]]s and latex to make puppet faces.<ref name='migun' /><ref>[http://www.animator.ru/db/?ver=eng&p=show_film&fid=3039 Karandash and Klyaksa — Merry Hunters] at [[Animator.ru]]</ref>

They were followed by [[Vladimir Degtyaryov]] who produced many films such as ''[[Beloved Beauty]]'' (1958) and ''{{ill|Who Said Meow?|ru|Кто сказал «мяу»?}}'' (1962), [[Roman Abelevich Kachanov|Roman Kachanov]] and {{ill|Anatoly Karanovich|ru|Каранович, Анатолий Георгиевич}} who directed the award-winning ''{{ill|The Cloud in Love|ru|Влюблённое облако}}'' (1959) that combined stop motion, traditional and cutout animation, {{ill|Vadim Kurchevsky|ru|Курчевский, Вадим Владимирович}} and [[Nikolay Serebryakov]] whose style was marked by extensive aesthetic search for "combination of realism and the baroque".<ref name='bend2' /> [[Sergey Obraztsov]] and his team also produced a number of movies using hand puppets.<ref name='arbat'>[https://www.youtube.com/watch?v=bAzcSuzcRsM Soyuzmultfilm. Fables and Stories. Tales of Old Arbat] documentary by Natalya Lukinykh at the [[Open Russian Festival of Animated Film|Suzdalfest]] official channel, 2003 (in Russian)</ref>

[[File:Istoria odnogo prestuplenii by fjodor khitruk.jpg|thumb|''[[The Story of a Crime]]'' (1962).]]
In 1957, Migunov directed ''{{ill|Familiar Pictures|ru|Знакомые картинки}}'' based on the sketches by a stand-up comedian [[Arkady Raikin]] who also appeared in the short. What made it special was a radical style of magazine caricatures, since Raikin's satire didn't fit the "realistic" art direction.<ref name='migun' /><ref>[http://www.animator.ru/db/?ver=eng&p=show_film&fid=2001 Familiar Pictures] at [[Animator.ru]]</ref> It was not long until other animators started abandoning it. In 1958, [[Alexandra Snezhko-Blotskaya]] released an adaptation of [[Arkady Gaidar]]'s ''A Tale of Malchish-Kibalchish'' inspired by [[ROSTA posters]], while [[Boris Stepantsev]] and Evgeny Raykovsky directed a [[postmodernism|postmodern]] ''{{ill|Petya and the Little Red Riding Hood|ru|Петя и Красная Шапочка}}'' that leant towards [[Tex Avery]].<ref name='bend2' /><ref name='monsters'>[https://www.youtube.com/watch?v=qXxgO_MnKtU Monsters of Animation. Boris Stepantsev] at the official [[2×2 (TV channel)|2×2]] channel (in Russian)</ref>

In 1960–1962, a whole line of "formalistic" features hit the screens, such as ''[[It Was I Who Drew the Little Man]]'' by the [[Brumberg sisters]], ''[[The Key (1961 film)|The Key]]'' by [[Lev Atamanov]], ''[[Cipollino#Adaptions|Cipollino]]'' by [[Boris Dyozhkin]] and ''[[The Wild Swans (1962 film)|The Wild Swans]]'' by [[Mikhail Tsekhanovsky|Mikhail]] and [[Vera Tsekhanovskaya|Vera Tsekhanovsky]] — the first Soviet [[widescreen]] feature that introduced [[Gothic art]] style.<ref>[http://www.kino-teatr.ru/kino/person/251/ Max Zherebchevsky: "I create all kind of wonders out of fear"] interview with an art director, August 30, 2012 (in Russian)</ref> Ivanov-Vano also broke new grounds with ''The Flying Proletary'' (1962), the first widescreen stop motion short based on the poems and art of [[Vladimir Mayakovsky]] that made use of bas-relief paper dolls.<ref name='arbat' /><ref>''[[Iosif Boyarsky]] (1995)''. [http://www.pereplet.ru/text/boyarskiy.html Literary Collages]. — Moscow: Russian Binding (online magazine, in Russian)</ref> Same year [[Fyodor Khitruk]] made a directoral debut with a primitivistic cutout short ''[[The Story of a Crime]]'' that told a contemporary story and gained international praise.

== Soyuzmultfilm, 1964–1991 ==
In the following years, many animators turned away from the conveyor method of production and developed their own distinctive styles and approaches. The number of titles rose through the mid-1960 into the 1970s and 1980s, up to fifty per year.<ref name='bend2' /> Mini-series and anthologies became common, while the amount of feature films decreased dramatically.
[[File:Stamp of Russia 2012 No 1654 Lillebror and Karlsson.jpg|thumb|left|''Junior and Karlson'' stamp based on the [[Karlsson-on-the-Roof#Adaptations|animated dilogy]].]]
Director [[Boris Stepantsev]] was known for experimenting a lot. Among his films was another postmodern comedy ''Vovka in the Far Far Away Kingdom'' (1965), the [[paint-on-glass animation]] ''Song of a Falcon'' (1967), the highly popular ''[[Karlsson-on-the-Roof#Adaptations|Karlsson-on-the-Roof]]'' dilogy (1968–1970) that made use of [[xerography]] and ''[[The Nutcracker (1973 film)|The Nutcracker]]'' adaptation (1973) that presented a [[The Nutcracker|familiar story]] without a single spoken word.<ref name='bend2' /><ref name='monsters' />

Some patriarchs also joined the new wave. Ivanov-Vano was appointed an artistic director of the puppet division where he made a number of stop motion/cutout films inspired by Russian folk art, like ''[[Left-Hander (1964 film)|Lefty]]'' (1964) that addressed [[lubok]], ''[[Go There, Don't Know Where]]'' (1966) that used elements of [[rayok]] and [[skomorokh]] theatre, ''The Seasons'' (1969) based around [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s ''[[The Seasons (Tchaikovsky)|two character pieces]]'', presented as a combination of [[Dymkovo toys]] and [[lace]], and the award-winning ''[[The Battle of Kerzhenets]]'' (1971) where [[fresco]]s and [[icon]]s came to life.<ref name='vano' />

Another well-respected old-timer [[Boris Dyozhkin]] launched a popular series of short comedy films about two teams that competed in various sport disciplines such as football, hockey, skiing, boxing and so on. It ran from 1963 to 1981 and was notable for fast-paced [[slapstick]] synchronized with music.<ref name='interros' />

Among the most political animators were [[Fyodor Khitruk]] whose satire ''The Man in the Frame'' (1966) was cut by censors<ref>[https://www.youtube.com/watch?v=oVjrRIe-C10 Soyuzmultfilm. Fables and Stories. Merry Tales about Sad Things] documentary by Natalya Lukinykh at the Master-Film official channel, 2004 (in Russian)</ref> and [[Andrei Khrzhanovsky]] whose [[surrealism|surrealist]] film ''[[The Glass Harmonica (film)|The Glass Harmonica]]'' (1968) was shelved for many years. On the other hand, Khitruk's ''{{ill|Boniface's Vacation|ru|Каникулы Бонифация}}'' (1965), ''[[Film, Film, Film]]'' (1968) and the ''[[Winnie-the-Pooh (1969 film)|Winnie-the-Pooh]]'' trilogy in particular became an instant success among both kids and adults.<ref>[http://www.smithsonianmag.com/smart-news/russian-version-winnie-pooh-different-also-classic-180953496/?no-ist SMARTNEWS Keeping you current Russia Has Its Own Classic Version of an Animated Winnie-the-Pooh]</ref>

[[Roman Abelevich Kachanov|Roman Kachanov]] made numerous films for children. He started with [[Stop motion|puppet animation]] such as ''[[A Little Frog is Looking for his Father]]'', ''[[The Mitten (film)|The Mitten]]'' and, most famously, the ''[[Cheburashka (1971 film)|Cheburashka]]'' series that turned [[Cheburashka]] into one of the iconic characters of Soyuzmultfilm. In his late years he switched to [[traditional animation]] with the feature [[science fiction film]] ''[[The Mystery of the Third Planet]]'' (1981).<ref name='bend2' />

[[File:MaugliStamp.JPG|thumbnail|left|''[[Adventures of Mowgli]]'' on a Russian stamp.]]
''[[Adventures of Mowgli]]'' mini-series by [[Roman Davydov]] was released from 1967 to 1971. Just like ''Winnie-the-Pooh'', it was not conceived as a reaction to the Disney's ''[[The Jungle Book (1967 film)|The Jungle Book]]'' (even the first episode was developed simultaneously) and followed the original plot closely, appearing more adult and spiritually closer to the book. In 1973, the shorts were combined into a 96-minute feature.<ref name='interros' />

The rising popularity of the industry started drawing people from other areas. [[Vasily Livanov]], originally an actor, finished animation courses and directed several experimental pictures. Yet his biggest success was ''[[The Bremen Town Musicians (1969 film)|The Bremen Town Musicians]]'' (1969), an animated [[musical film]] heavily influenced by [[rock and roll]] and [[hippie]] cultures. The first part was directed by [[Inessa Kovalevskaya]] who also abandoned her position at [[State Committee for Cinematography|Goskino]] to work on animated musicals. After she left the project, Livanov directed the [[On the Trail of the Bremen Town Musicians|sequel]] by himself. The three main characters were voiced by the leading Soviet pop singer [[Muslim Magomayev (musician)|Muslim Magomayev]].<ref name='interros' /><ref>[https://www.imdb.com/title/tt0251333/fullcredits?ref_=tt_cl_sm#cast Full Cast & Crew] at [[IMDb]]</ref>

[[File:nu pogodi by vjacheslav kotenochkin.jpg|thumb|''[[Well, Just You Wait!]]'' by [[Vyacheslav Kotyonochkin]] (1969–1993).]]
1969 saw the birth of Russia's most popular animation series ''[[Well, Just You Wait!]]'' directed by [[Vyacheslav Kotyonochkin]].<ref name='ria'>''[https://ria.ru/culture/20140226/997163184.html The Nu, Pogodi! Series Turned to Be the Most Beloved Animation in Russia]'' by [[RIA Novosti]], February 26, 2014 (in Russian)</ref> These seemingly simple miniatures about a wolf chasing a hare through Soviet-style [[cartoon]] worlds owe a great deal of their popularity to the quality animation, varied soundtrack and cunning [[subtext]]s built into their parts. The original series ran from 1969 to 1993. During the mid-2000s, an unsuccessful attempt to reboot the series was made.<ref>[http://www.newsru.com/cinema/22nov2006/nupogodi.html Episode 20 of Nu, Pogodi! Released — No More Sequels] by [[NEWSru]], November 22, 2006 (in Russian)</ref> Another attempt would be made in 2020, releasing in 2021 after delays, though to mass negative reviews.<ref>{{cite web |last1=Кискаркин |first1=Леонид |title=Рецензия на «Ну, погоди! Каникулы»: торопливый и небрежный перезапуск хитового мультфильма |url=https://www.vokrug.tv/article/show/16396699361/ |website=Вокруг |access-date=17 December 2021}}</ref> The series uses 3D instead of the traditional 2D animation that was associated with the beloved series.<ref>{{cite web |title=Nu, Pogodi! Kanikuly |url=https://tvtropes.org/pmwiki/pmwiki.php/Animation/NuPogodiKanikuly |website=tvtropes}}</ref> The new version of the cartoon was also modernized for younger audiences, no doubt alienating its previous fans who grew up watching the antics of the wolf and hare.<ref>{{cite web |title=«Взрослые бухтят, а детям нравится!» Зрители оценила новую версию «Ну, погоди!» |url=https://newizv.ru/news/2021-12-22/vzroslye-buhtyat-a-detyam-nravitsya-zriteli-otsenila-novuyu-versiyu-nu-pogodi-346863 |access-date=22 December 2021}}</ref>

Also, in 1969, a long-running animated [[anthology series]] ''[[Happy Merry-Go-Round]]'' was founded by [[Anatoly Petrov (animator)|Anatoly Petrov]] and [[Galina Barinova (animator)|Galina Barinova]]. Each episode combined several short experimental films by the beginning directors like [[Leonid Nosyrev]], {{ill|Valery Ugarov|ru|Угаров, Валерий Михайлович}}, [[Eduard Nazarov]], [[Gennady Sokolsky]], [[Garri Bardin]] and {{ill|Aleksandr Davydov (animator)|ru|Давыдов, Александр Романович|lt=Aleksandr Davydov}}.<ref name='bend2' />

Most of them gained acclaim later on, working in their own unique niches. Anatoly Petrov showed extreme realism (close to photorealism) without rotoscopy, photography or any "cheating". His style was known as "photographics", or "graphical painting"; for many years he developed the so-called effect of moving [[glaze (painting technique)|glaze]] in a 3D environment using traditional animation materials. The final result was close to advanced [[Computer-generated imagery|CGI]] long before it was invented. Among his best works was ''[[Polygon (film)|Polygon]]'' (1977) and several films based on [[Greek mythology]].<ref name='bend2' /><ref>Georgy Borodin. ''"An Artist Must Die..." Anatoly Petrov Died'' article from [[Gazeta.ru]], March 5, 2010 (in Russian)</ref>

Gennady Sokolsky focused on environmental films with attractive characters and ambient soundtracks: ''{{ill|Silver Hoof (film)|ru|Серебряное копытце (мультфильм)|lt=Silver Hoof}}'' (1977), ''{{ill|Pik the Mouse|ru|Мышонок Пик}}'' (1978) and ''[[The Adventures of Lolo the Penguin]]'' (1986), a joined [[List of joint Japanese–Soviet films|Soviet-Japanese]] feature co-directed with [[Kenji Yoshida]]. Leonid Nosyrev explored the Russian North folklore with a number of ethnographical films based on the stories by [[Boris Shergin]], [[Stepan Pisakhov]] and [[Yury Iosifovich Koval|Yuri Koval]]. In 1987, seven of them were combined into a ''[[Laughter and Grief by the White Sea]]'' feature film.<ref name='bend2' />

One of the most famous Russian animators is [[Yuri Norstein]]. His films ''[[Hedgehog in the Fog]]'' (1975) and ''[[Tale of Tales (1979 film)|Tale of Tales]]'' (1979) won numerous awards at international festivals. ''Tale of Tales'' was named the best animation film of all time at the 1984 [[Olympic Arts Festival]] in [[Los Angeles]] and at the 2002 [[Animafest Zagreb]]. Since the beginning of [[perestroika]] Norstein has been working on ''[[The Overcoat (animated film)|The Overcoat]]''.<ref name='bend2' />

[[Vladimir Popov (animator)|Vladimir Popov]] had been known since the 1960s for his shorts such as ''[[Umka (1969 film)|Umka]]'', but it was the ''[[Three from Prostokvashino]]'' trilogy (1978–1984) that brought him fame. The characters and their catchphrases entered Russian folklore, and it was chosen the third best animation of all time in the 2014 poll conducted by the Public Opinion Foundation.<ref name='ria' /> In 2018 the series was rebooted.<ref>[https://www.youtube.com/playlist?list=PLPf2EPsgjY3yz45ilvWm19H_7cZMhqR1S New Prostokvashino] at the [[Soyuzmultfilm]] Youtube channel</ref>

[[Vladimir Tarasov]] was a rare Soviet director who dedicated himself to the [[science fiction]] genre. Among his prominent works were ''[[Contact (1978 film)|Contact]]'' (1978) influenced by ''[[Yellow Submarine (film)|Yellow Submarine]]'', ''[[Shooting Range (film)|Shooting Range]]'' (1979), ''[[Contract (1985 film)|Contract]]'' (1985) and ''[[The Pass (1988 film)|The Pass]]'' (1988).

[[Stanislav Sokolov]] brought [[stop motion]] to a new height. His approach characterized by complex animation structures and multiple special effects could be observed in the award-winning ''Black and White Film'' (1984) or ''[[The Big Underground Ball]]'' (1987). During late years, few animated films were produced due to the lack of financing from government. [[Garri Bardin]] who also specialized on stop motion films made of matches, ropes and wire, was one of those few directors who managed to cope with the political changes. His ''[[Seryi Volk & Krasnaya Shapochka|Grey Wolf & Little Red Riding Hood]]'' (1991) was full of allusions to the upcoming end of the USSR.<ref name='bend2' />

== Other Soviet studios ==
[[Kievnauchfilm]] was founded in 1941. Although it was created to produce [[popular science]] films, it eventually became best known for its animated films, and remained active in [[History of Ukrainian animation|Ukrainian animation]] for decades.

In 1968, a group of mathematicians led by [[Nikolay Konstantinov]] released a 1.5-minute non-narrative animation ''{{ill|Kitty (1968)|ru|Кошечка (мультфильм)|lt=Kitty}}'', one of the earliest examples of [[computer animation|computer]] and [[procedural animation]] in history programmed on [[BESM]]-4.<ref name='booth'>[https://www.academia.edu/5154005/Computer_Animation_Across_the_Iron_Curtain_Digital_Character_Design_in_Kitty_1968_ Computer Animation Across the Iron Curtain: Digital Character Design in Kitty (1968)] by Booth Wilson</ref><ref>[http://www.etudes.ru/ru/etudes/cat-animation/ Kitty] film and post-mortem article from the Problems of Cybernetics magazine, issue 28, 1974 (in Russian)</ref> The cat's movements and mimics were modelled using the second-order [[differential equation]] system.<ref name='arrival'>Leonid Levkovich-Maslyuk. ''[https://old.computerra.ru/2006/627/254339/ The Arrival of a Kitty]'' article from [[Computerra]] № 7, 21 February 2006 (in Russian)</ref> It was also one of the first attempts to render realistic animal motion digitally.<ref name='booth' /> Programmed at the [[Moscow State Pedagogical University]], ''Kitty'' was made into a movie and screened at the [[Moscow State University]].<ref>Leonid Levkovich-Maslyuk. ''[https://old.computerra.ru/2006/627/254341/ Interview]'' with [[Nikolay Konstantinov]] from [[Computerra]] № 7, 21 February 2006 (in Russian)</ref> It was later shown to students at mathematics competitions and used for educational purposes at schools.<ref name='booth' /><ref name='arrival' />

From 1970 on, new studios appeared across the [[Russian Soviet Federative Socialist Republic|RSFSR]], most famously Multtelefilm division of [[Studio Ekran]] (Moscow) that focused on lower-budget television animation. It was known for several popular TV series such as ''[[Leopold the Cat]]'' (1975–1987), ''{{ill|Kuzya the Little Domovoi|ru|Домовёнок Кузя}}'' (1984–1987), ''[[Investigation Held by Kolobki]]'' (1986–1987) and ''{{ill|Adventures of Funtik the Piglet|ru|Приключения поросёнка Фунтика}}'' (1986–1988), as well as various experiments. {{ill|Vladimir Samsonov (animator)|ru|Самсонов, Владимир Анатольевич|lt=Vladimir Samsonov}} re-discovered [[paint-on-glass animation]] with films like ''Wonders'' (1980), ''{{ill|The Huge Sky|ru|Огромное небо (мультфильм)}}'' (1982) and {{ill|The Firebird (1984 film)|ru|Жар-птица (мультфильм)|lt=''The Firebird''}} (1984), while [[Alexander Tatarsky]] pioneered [[clay animation]] with ''[[Plasticine Crow]]'' (1981), ''[[Last Year's Snow Was Falling]]'' (1983) and the ''[[Good Night, Little Ones!]]'' opening (computerized in 2002 as the very first CGI Animation in Russia, made for [[VGTRK|state television]]). He and his students also practiced total animation (flying camera with characters and backgrounds moving simultaneously).

Multtelefilm served as a base for [[Pilot (studio)|Pilot]], the first private Soviet animation studio founded by Alexander Tatarsky and [[Igor Kovalyov]] in 1988. They aimed at both auteur and commercial animation, producing absurd adult-themed films. In several years half of the team left Russia to work for [[Klasky Csupo]] where they created popular animated series such as ''[[Rugrats]]'' and ''[[Aaahh!!! Real Monsters]]''.<ref name='bend2' /><ref>[https://www.1tv.com/announce/8051 The Master of Plasticine Crowns] documentary by [[Channel One Russia]], 2010 (in Russian)</ref>

The [[Sverdlovsk Film Studio]] also gained fame for its paint-on-glass animation with complete new level of quality by {{ill|Aleksei Karaev|ru|Караев, Алексей Борисович}} and [[Aleksandr Petrov (animator)|Aleksandr Petrov]] (''[[Welcome (1986 film)|Welcome!]]'', ''[[The Cow (1989 film)|The Cow]]''), as well as [[sand animation]] by Vladimir and Elena Petkevich (''A Small Tale of a Small Bug''). The rest included the animation department at [[Lennauchfilm]] that produced educational and [[popular science]] films, the Permtelefilm studio ([[Perm, Russia|Perm]]) responsible for TV animation mostly based on the [[Ural (region)|Ural]] folklore, Kuybyshevtelefilm ([[Samara|Kuybyshev]]) known for its stop motion ''Forest Tales'' series, Saratovtelefilm ([[Saratov]]) and some others.<ref name='bend2' />

In 1989, another independent studios [[Christmas Films]] was founded by Soyuzmultfilm veterans that focused on international coproduction. It became famous during later years with the Russian-British ''[[Shakespeare: The Animated Tales]]'' series (1992–1994) that earned several [[Primetime Emmy Award]]s.<ref>[https://www.imdb.com/title/tt0147788/awards Shakespeare: The Animated Tales Awards] at [[IMDb]]</ref>

== Russian animation today ==
[[File:Oldmansea petrov.jpg|thumb|''[[The Old Man and the Sea (1999 film)|The Old Man and the Sea]]'' (1999).]]
After the [[dissolution of the Soviet Union]] the situation for Russian animators changed dramatically. Due to the new management and the lack of state funding, many of them left [[Soyuzmultfilm]], which was turned into a [[lease]]d enterprise. In 1993, Yuri Norstein, [[Fyodor Khitruk]], [[Andrei Khrzhanovsky]] and [[Eduard Nazarov]] founded the [[SHAR Studio]] meant for training animators and producing films.<ref>[http://sharstudio.com/en/about/ About School-Studio “SHAR”] at the official site</ref> [[Garri Bardin]] also founded the Stayer animation studio where he continued directing claymation and stop motion films.<ref>[http://www.bardin.ru/engbiograph.htm Biography of the film director Garri Bardin] at the official site</ref> Others joined [[Pilot (studio)|Pilot]], [[Christmas Films]], [[Animation Magic]] and similar companies that lived on advertisement and commissioned works for big studios from Western countries.

In 1992, Films by Jove, an [[America]]n company ran by [[Oleg Vidov]] and his wife Joan Borsten, signed a nine-year contract with the new Soyuzmultfilm director Stanislav Rozhkov that gave them exclusive distribution and editing rights for the major part of the studio's collection. They were supposed to share incomes, but only after their expenses would've been paid off. As a result, animators received nothing for their past works. In 1993, they elected a new director, a shady businessman Sergei Skulyabin who promised to turn the studio into a [[joint-stock company]]. Instead, he signed a new contract with Vidov, extending it from nine to twenty years and returning a number of non-profitable films. His plan was to sell exclusive rights for all past and future films to his [[dummy corporation]] and bankrupt the studio.<ref name='fight'>Olga Razumovskaya. ''[https://themoscowtimes.com/articles/studio-renews-fight-for-soviet-cartoons-715 Studio Renews Fight For Soviet Cartoons]'' article at [[The Moscow Times]], 18 August 2010</ref><ref name='goodbye'>Georgy Borodin. ''[http://www.animator.ru/articles/article.phtml?id=28 Goodbye, Souyzmultfilm!]'' article at [[Animator.ru]], August–October 2003 (in Russian)</ref>

When animators realized it, they managed to overthrow him with the help from the [[Union of Cinematographers of the Russian Federation|Union of Cinematographers]] and [[Goskino]], although the [[Ministry of State Property]] still refused to step in and return the studio the state status. Skulyabin also refused to leave the director's chair up until 30 June 1999 when [[Sergei Stepashin]] finally signed a long-awaited order that turned Soyuzmultfilm into a [[unitary enterprise]]. By that time the production completely stopped.<ref name='goodbye' /> In 2001 the [[High Court of Arbitration of Russia]] returned the rights to the whole collection back to Soyuzmultfilm which led to a legal battle with Films by Jove. Only in 2007 Vidov and Borsten agreed to sell the collection to the Russian business magnate [[Alisher Usmanov]] who donated it to the state-run children's channel [[Bibigon]].<ref name='fight' /><ref>[https://www.businesswire.com/news/home/20070905006228/en/Films-Jove-Sells-Award-Winning-Animation-Library Films By Jove Sells Award Winning Animation Library Rights to Russian Magnate] article at [[Business Wire]], September 05, 2007</ref> Around the same time the studio came back to life.

Nevertheless, there were a few very successful international co-productions, e.g. the aforementioned ''[[Shakespeare: The Animated Tales]]'' and [[Aleksandr Petrov (animator)|Aleksandr Petrov]]'s [[Academy Awards|Oscar]]-winning ''[[The Old Man and the Sea (1999 film)|The Old Man and the Sea]]'' (1999). An ambitious project in 12 series ''[[Dunno#Adaptations|Dunno on the Moon]]'' was released between 1997 and 1999. Based on the Soviet sci-fi [[Dunno on the Moon|novel of the same name]], it was produced at [[Aleksei Guskov]]'s F.A.F. Entertainment in the best traditions of Soviet hand-made animation. Despite the hardships, Natalya Lukinykh has estimated that Russian animated films won about twice as many prestigious international awards in the 1990s as Russian live-action films.<ref>Natalya Lukinykh. ''[http://animator.ru/articles/article.phtml?id=186 The Splendors and Miseries of the Russian Animation]'' article at [[Animator.ru]], 2001 (in Russian)</ref>

As Russia's economic situation became increasingly stable, so did the market for animation, and during the last three years, a number of feature-length animation films from Russian studios have emerged (e.g. [[Melnitsa Animation Studio]]'s ''[[Little Longnose]]'', 2003, from [[Wilhelm Hauff]]'s fairy tale, and [[Solnechny Dom|Solnechny Dom Studio]]'s 2006 ''[[Prince Vladimir (film)|Prince Vladimir]]'', based on early history of [[Kievan Rus'|Rus']] – the highest-grossing Russian animated film to date). While the Russian animation community is yet far from reaching the splendor it possessed before the end of the Soviet Union, a significant recovery is being made and it is becoming more and more clear that the revived Russian animation industry will be very different from what it was in the late 1980s. According to [[Andrei Dobrunov]], head of Solnechny Dom, several Russian studios are currently working on some ten animated feature films.<ref>Anna Smolchenko. ''[http://www.sptimes.ru/index.php?action_id=2&story_id=17500 Disney Looks to Reanimate Russian Cartoon Sector]'' article from [[The St. Petersburg Times (Russia)|The St. Petersburg Times]], May 2, 2006 ([https://web.archive.org/web/20140301200237/http://www.sptimes.ru/index.php?action_id=2&story_id=17500 archived])</ref>

''[[Especial (2006)|Especial]]'' released on July 31, 2006 was Russia's first [[3D computer graphics|CG-animated]] feature film.<ref>[http://animator.ru/db/?ver=eng&p=show_film&fid=6895 Especial] at [[Animator.ru]]</ref> At the same time, Soyuzmultfilm has partnered up with [[Mihail Chemiakin]] and is working on ''[[Hoffmaniada]]'', a puppet-animated feature film which is deliberately being made entirely without computers. In 2007, the [[Synfig#Usage|Morevna Project]] was launched, aiming at creating a [[science fiction]] re-telling the folk-tale of [[The Death of Koschei the Deathless|Marya Morevna]] as an [[anime]] primarily by using the [[free software]] [[Synfig]] tool and releasing it under a [[Creative Commons]] license.<ref>[http://www.freesoftwaremagazine.com/columns/morevna_project_anime_synfig_and_blender The Morevna Project: Anime with Synfig and Blender] {{webarchive|url=https://web.archive.org/web/20110814171647/http://www.freesoftwaremagazine.com/columns/morevna_project_anime_synfig_and_blender |date=August 14, 2011 }}</ref> Other popular Russian Internet cartoons include ''[[Masyanya]]'' and ''[[Mr. Freeman]]''. A corporate collaboration between the Japanese [[Studio 4°C]] and Russia's Molot Entertainment did also produce the anime film ''[[First Squad]]'' (2009), which won the ''[[Kommersant]]'' newspaper's prize.<ref>{{cite web|url=http://www.animenewsnetwork.com/news/2009-06-30/4c-first-squad-wins-award-at-moscow-intl-fim-fest|title=4°C's ''First Squad'' Wins Award at Moscow Int'l Fim Fest|date=2009-06-30|publisher=[[Anime News Network]]|access-date=2009-10-11}}</ref> The film was finally released in 2018.

Beginning in 2009, animation entered a new crisis as [[Goskino]] indefinitely postponed funding for all projects, and for the 2010 budget the state cut animation funding by half. The animation community reacted by appealing to the President and the public. [http://animator.ru/index.phtml?p=show_news&nid=1167] [http://animator.ru/index.phtml?p=show_news&nid=1221] In 2010, many of the major studios, including [[Pilot (studio)|Pilot]], were either closed or on the verge of shutting down. The vast majority of studios had relied on state support to some extent, and Goskino did not fulfill any of their contractual obligations to pay for the films that they had ordered and which the studios had already produced.[http://www.vesti.ru/doc.html?id=376797] In addition, Disney has been accused of using anti-competitive practices to sideline domestic Russian competition on TV channels.[http://niffiwan.livejournal.com/35080.html]

The [[Centre of National Film|Center of National Film]] CG animated film ''[[Space Dogs]]'', released on March 18, 2010 and about the [[Soviet space dogs]] [[Soviet space dogs#Belka and Strelka|Strelka and Belka]], received an English release on June 8, 2012 and spawned a broader franchise. [[Wizart Animation]], alongside [[InlayFilm]], also produced a new CG film version of ''[[The Snow Queen (2012 film)|The Snow Queen]]'' (2012), spawning a new franchise with sequels ''[[The Snow Queen 2]]'' (2014) and ''[[The Snow Queen 3: Fire and Ice]]'' (2016), alongside their first fully original concept ''[[Sheep and Wolves]]'' (2016).

[[Animaccord Animation Studio]] has had success in CG television animation with its children's series ''[[Masha and the Bear]]'' (2009–present), whose emphasis on [[pantomime]] has helped it export outside of the country, premièring on the US version of [[Netflix]] in August 2015.<ref>{{cite web |url=http://kidscreen.com/2015/06/03/netflix-picks-up-seven-new-kids-series/ |title = Kidscreen » Archive » Netflix picks up seven new kids series}}</ref><ref>{{Cite web|date=2017-01-25|title=Drawings that come to life, o Russian contemporary cartoons|url=https://impulsplus.es/en/drawings-that-come-to-life/|access-date=2021-04-15|website=ImpulsPlus|language=en-US}}</ref> Another long running, educational, children's series by [[Melnitsa Animation Studio]] called ''[[Luntik]]'' has aired since September 1, 2006. An earlier success in this market was ''[[Kikoriki]]'' which aired from May 7, 2004 until 2012, produced by [[Petersburg Animation Studio]] with assistance from the [[Ministry of Culture of the Russian Federation]]. [[English-language]] distribution rights to the series were acquired by [[4Kids Entertainment]] from worldwide distributor [[Fun Game Media]], [[Munich]]<ref>{{cite web|url=http://app.quotemedia.com/data/newsItem.htm?webmasterId=92403&storyId=12531148&topic=KDE|title=GoGoRiki confirmed for fall 2008|access-date=2008-08-11|archive-url=https://web.archive.org/web/20090123100822/http://app.quotemedia.com/data/newsItem.htm?webmasterId=92403&storyId=12531148&topic=KDE|archive-date=2009-01-23|url-status=dead}}</ref> and began airing as part of [[The CW4Kids]] block on [[The CW Television Network|The CW]] on September 13, 2008, under the name ''GoGoRiki''.<ref>{{cite web|url=http://biz.yahoo.com/iw/080903/0429959.html |title=4Kids announces fall 2008 Lineups for Fox and The CW |access-date=2008-09-05 |url-status=dead |archive-url=https://web.archive.org/web/20090104211358/http://biz.yahoo.com/iw/080903/0429959.html |archive-date=January 4, 2009 }}</ref> In 2011 a prequel feature film was released entitled ''[[Kikoriki. Team Invincible]]'' and further films are planned. A connecting factor in many recent Russian animated efforts is [[Timur Bekmambetov]], whose [[Bazelevs Company]] has helped produce, finance and promote ''Kikoriki'' and ''The Snow Queen''.<ref>[http://www.comingsoon.net/movies/news/96450-check-out-a-trailer-for-the-snow-queen Check Out a Trailer for The Snow Queen], ComingSoon.Net (article by Silas Lesnick), October 28, 2012</ref>

In 2010, the animated series ''[[The Fixies]]'' premiered on [[Carousel (TV channel)|Karusel]] and [[Russia 1]].

In 2018, [[Soyuzmultfilm]], announced plans to restore films from its Golden Collection.<ref>{{Cite web|title="Союзмультфильм" реставрирует семь картин "Золотой коллекции"|url=https://worldpodium.ru/news/soyuzmultfilm-restavriruet-sem-kartin-zolotoy-kollekcii|access-date=2020-12-17|website=WORLD PODIUM|language=ru}}</ref> On 5 December 2020, the second part of the Golden Collection was restored and released theatrically by United Network "Cinema Park" in Russia. The release was followed up online premiere service viewing options.<ref>{{Cite web|date=2020-11-27|title=Отреставрированные анимационные картины золотой коллекции "Союзмультфильма" покажут в кино|trans-title=Restored animated pictures of the golden collection of Soyuzmultfilm will be shown in the cinema|url=https://tass.ru/kultura/10115779|access-date=2021-04-15|website=ТАСС}}</ref><ref>{{Cite web|date=2020-10-09|title=Классика "Союзмультфильма" появится в онлайн-кинотеатрах|trans-title=Soyuzmultfilm classics will appear in online cinemas|url=https://inc-news.ru/movie/11:56/2:117469|access-date=2021-04-15|website=IncNews|language=ru}}</ref>

== Popular animation studios ==
*[[Soyuzmultfilm]], [[Pilot (studio)|Pilot]], & [[Toonbox]]
*[[Melnitsa Animation Studio]]
*[[Petersburg Animation Studio]]
*[[Animaccord Animation Studio]]
*[[Voronezh Animation Studio]]

== See also ==
{{Portal|Animation|Film|Russia}}
* [[History of animation]]
* [[Animator.ru]]
* [[Masters of Russian Animation]]
* [[Encyclopedia of Domestic Animation]]
* [[KROK International Animated Films Festival]]
* [[Open Russian Festival of Animated Film]]
* [[Magia Russica]]
* [[Moscow Animation Museum]]

== References ==
{{reflist|2}}

=== Bibliography ===
* Bendazzi, Giannalberto. 1994. ''Cartoons. One Hundred Years of Cinema Animation.'' London/Bloomington: John Libbey/Indiana University Press.
* Giesen, Rolf. 2003. ''Lexikon des Trick- und Animationsfilms.'' Berlin: Schwarzkopf & Schwarzkopf.
* Leslie, Ester. 2002. ''Hollywood Flatlands. Animation, Critical Theory and the Avant-Garde.'' London, New York: Verso.
* Pilling, Jayne (Ed.). 1997. ''A Reader in Animation Studies.'' London et al.: John Libbey.
* Асенин, Сергей Владимирович. 1986. ''Мир мультфильма.'' Москва: Искусство.
* Венжер, Наталья Яковлевна (Ed.). 1990. ''Сотворение фильма. Несколько интервью по служебным вопросам.'' Москва: Союз Кинематографистов СССР.
* Иванов-Вано, Иван Петрович. 1978. ''Кадр за кадром'', Москва: Искусство.
*Орлов, Алексей Михайлович. 1995. ''Аниматограф и его анима: психогенные аспекты экранных технологий.'' Москва: Импето.

== External links ==
* [https://russianfilmhub.com/genre/russian-cartoons/ Russian and Soviet animations] at [https://russianfilmhub.com/ Russian Film Hub]
* [http://www.animator.ru Animator.ru] – the homepage of the Russian animation community. Includes an [http://animator.ru/db/?ver=eng&p=films English-language database]
* [http://www.smfanima.ru/ Soyuzmultfilm homepage] The most famous Russian animation studio's home page {{in lang|ru}}
* [https://www.youtube.com/user/ClassicCartoonsMedia/ Officially licensed YouTube channel for Soyuzmultfilm animation] in Russian (English subtitles promised)
* [http://www.pilot-film.com/ www.pilot-film.com] Another famous studio's homepage (in Russian and English)
* [http://studio-mir.ru/eng/index.php?p=films Animated Century. The Stars of Russian Animation] {{Webarchive|url=https://web.archive.org/web/20210506114805/http://studio-mir.ru/eng/index.php?p=films |date=2021-05-06 }} documentary series (in Russian, English website)
* [https://russian-insider.blogspot.com/ Russian Insider] – a blog focusing on current and past Russian/Soviet animation
* [https://www.youtube.com/channel/UCexc-emEni9lvU5jbTqLEkw/playlists Mountain of Gems series] at the official [[YouTube]] channel (in Russian, English, Spanish and Chinese)
* [http://munequitosrusos.blogspot.com Blog about Russian Animation Influence in Cuban Culture]
* [http://soviet-cartoons.ucoz.org/ Soviet Cartoons Online] - in English and Russian, with Russian and English subtitles

=== News articles ===
* [https://web.archive.org/web/20081214164214/http://www.sptimes.ru/index.php?action_id=2&story_id=17500 ''The St. Petersburg Times'' (Russia)] – a May 2006 article about the film ''[[Prince Vladimir (film)|Prince Vladimir]]'' and the future of the animation industry in Russia
* [https://web.archive.org/web/20061229142428/http://www.russiaprofile.org/culture/2006/5/18/3723.wbp Redrawing Russian History] (May 18, 2006)
* [http://animator.ru/articles/article.phtml?id=28 In-depth history of the appalling and criminal happenings at Soyuzmultfilm during the 1990s] {{in lang|ru}}
* [https://web.archive.org/web/20071013131924/http://kinoart.ru/magazine/06-2003/now/animation/ An overview of Russian animated feature films in the 1990s and early 2000s] {{in lang|ru}}
* [http://rbth.ru/articles/2009/12/17/171209_animation.html Russian animation in search of a hero] {{Webarchive|url=https://web.archive.org/web/20120709235727/http://rbth.ru/articles/2009/12/17/171209_animation.html |date=2012-07-09 }} Maria Tereschenko, [[Russia Beyond the Headlines]], December 17, 2009 (English)

{{Animation industry in Russia}}
{{Animation}}

[[Category:History of animation by country|Russia]]
[[Category:Russian animation| ]]
[[Category:Soviet animation| ]]