The history of Russian animation is the film art produced by Russian animation makers. As most of Russia’s production of animation for cinema and television were created during Soviet times, it may also be referred to some extent as the history of Soviet animation. Imperial Russian Drawing children Vladimir who made a number of pioneering stop motion and traditionally animated films between 1906 and 1909.
The second person to independently discover animation was Ladislas Starevich known in Russia by the name of Vladyslav 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. They were made as editorial cartoons that satirized bourgeoisie, Church and Western countries, drawn and animated in a sketchy manner. During the late 1920s the industry started moving away from agitation. Mezhrabpom-Rus based on the fairy tale in verse by Korney Chukovsky.
Known as the first animated Soviet film aimed at children, it combined traditional animation and some live action scenes. Bolvashka’s Adventures that combined live action and stop motion animation in a story about a Pinocchio-like wooden boy. Nenets art that followed a dramatic narrative and used an innovative technique of printing on thin celluloid. USSR it changed the perception of animation as an art form. 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. Today he is commemorated as a patriarch of Russian animation. 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. Disney-style shorts, exclusively using the cel technique. From 1937 on they also produced films in full color using the three-color film process by Pavel Mershin. Not everyone was happy with the chosen direction though, and by 1939 many developed their own styles. Doctor Aybolit stories into a mini-series that ran from 1939 to 1946, with complex animation and an original “positive human protagonist”. 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.
Ivanov-Vano — the last film that used the Soviet three-color filming process before cinematographers switched to Agfacolor. Yet even after the war its resources were very limited. 19 animators from the relatively small Soyuzmultfilm team were killed in action. A whole generation of Lenigrad animators either disappeared at fronts or died during the Siege of Leningrad. Vladimir Suteev left the industry on his return. 1945 and 1948 four groups of students graduated from VGIK. Aleksandr Ivanov and art director Yevgeniy Migunov was accused of formalism and anthropomorphism following the cold war anti-Disney campaign.