They cannot come to a consensus, which cartoon was the very first in the world? Three cartoons at once can claim the palm. These are Phantasmagoria by Emile Cohl, as well as The Humorous Phases of Funny Faces and The Haunted Hotel by James Stuart Blackton. Even before 1900, J. Stuart Blackton, together with Thomas Edison, made "moving drawings" and shot them on film, thereby combining film technique with graphics. The resulting film was called Humorous Phases of Funny Faces and was presented to the French public on April 6, 1906.
Using the same dynamic animation technique, in 1907 Blackton created another film, The Haunted Hotel. But in our understanding, these cartoons were still very imperfect, and only demonstrated some of the possibilities of the animation technique, which was then called the "American Movement".
Later, the French cartoonist Emile Cohl used these possibilities in the cartoon "Phantasmagoria", shown by the Gaumont company in August 1908. Although "Phantasmagoria" lasts only one and a half minutes, many experts consider it to be the first full-fledged cartoon in the world. It was drawn on white paper and shot in negative, with light lines on a dark background creating an unusual effect.
The first cartoons of Russia and the USSR
By the way, the very first cartoon in Russia was filmed in 1912, and the first Soviet cartoon came out in 1924. It was called "Soviet Toys" and, of course, promoted the Soviet system.
It was released in 1928 and was called Plane Crazy. Disney's very first feature-length cartoon, Snow White and the Seven Dwarfs (original title: Snow White and the Seven Dwarfs), premiered on December 21, 1937. It was a cinematic sensation. In the same year, for his first cartoon, Walt Disney received one full and seven small (according to the number of gnomes) Oscar figurines. Since February 4, 1938, this cartoon has been widely released and to this day occupies a high place among the best animated films.
There are not only small, but also adult viewers. Drawn fairy-tale characters come to life on the screens, luring you into the world of exciting adventures. In life, those who move do not meet. But animations allow you to turn a set of static pictures into a moving image.
The art of cartoonists gives the viewer the opportunity to forget for a while that he is not dealing with reality, but with a fairy tale.
Since ancient times, animators have used the most diverse ones to obtain the desired effects, with the help of which puppet or drawn images came to life. Technology is definitely important. But much more has the artist's intention, script and idea. Finally, the character of an animated film is born when the animators endow him with personality and character. These principles, which originated at the dawn of cartoon cinema, are also characteristic of modern animation.
The masters of animation see their task in conveying to the audience the eternal ones, which, unlike technologies, do not change with time. Heroes still look at the viewer from TV screens, whose behavior is driven by the desire for justice and goodness. Evil must be defeated, and love and friendship will surely triumph.
Features of modern animation
Today, almost every creation in the world of animation is the result of the use of computer technology. Very rarely characters are now sculpted from or painted on transparencies. The use of computer animation tools allows you to get characters with extremely high image clarity. Such heroes are able to move like a person. Plasticity of movements and special effects bring animated pictures closer to reality.
One of the strongest trends in animated cinema is the drive towards extreme naturalization. But some masters of animation believe that the desire to give the film the ultimate credibility is a dead end, because the viewer perceives not so much the realism of the details of the picture, the artistic image created on the screen. It is the fabulous, unreal world that attracts the attention of young viewers.
Over the past two decades, three-dimensional animation has managed to emerge and develop. The use of 3D technologies in the production of cartoons became possible only after the release of computer technology to a new level.
Images that create the illusion of a three-dimensional world allow you to create a holistic image that strives for ultimate realism.
And yet, today's animation masters very often strive to deliberately stylize three-dimensional graphics as hand-drawn. This can be explained by the confrontation of two trends, one of which represents the old school of animation, and the second expresses
Cartoons, both Russian and foreign, are adored by people of all ages, not just children. But we don’t think much about how the cartoon appeared, who invented it, what was the first cartoon created in Russia, and more. If you already want to choose an interesting cartoon story for you or your child, enjoy a fabulous storyline and just relax, then this can be done on the portal, which presents a huge selection of cartoons.
The history of Russian animation is very rich and can be divided into several main periods. In any case, the largest period falls on the Soviet era, when the creators were mainly Soyuzmultfilm and Ekran.
Alexander Shiryaev became the first animator in Russia, this happened in 1960. It is he who is the father of the first puppet cartoon, where the story tells about twelve dancing small figures, while the scenery of the picture remained unchanged and motionless. The unique first cartoon was filmed on 15.5 mm film, the author spent three months to release it.
Graphic animation was born between 1924 and 1925. During this period of time, the Kultkino studio, together with a small staff, were able to show the country a huge range of animated pictures, which includes such works as "The Story of a Disappointment", "Humoresques", "The Incident in Tokyo", "German Affairs and Deeds" and much more. other. At this time, the first technologies appear that help speed up the process of creating cartoons.
Back in 1934, the famous corporation from the United States of America, Walt Disney, sends a roll of film to the Moscow Film Festival. On this tape was everyone's favorite cartoon with Mickey Mouse. Fyodor Khitruk talks about the moment when he saw how quickly the staff was changing, amazing, such new opportunities were closed to the Russians. Based on this interest, the famous Soyuzmultfilm studio appeared in 1935, whose employees anxiously studied Western technologies and capabilities.
But only in 1952, Soviet animators and directors were able to create a complete analogue of Disney's multi-angle camera. In 1953, the cartoon "Naughty Kitten", Kashtanka, was released. All these cartoons carried both artistic and educational value. This period was marked by a large number of masterpieces, one of which is The Snow Queen.
If we talk about the seventies, then such studios as the Screen Studio, the Sverdlovsk Film Studio and many other regional studios were engaged in the adaptation of animated films. The most famous at that time was the film "Polygon", the author is Anatoly Petrov. In the eighties, the first film was released that was completely drawn - this is "The Secret of the Third Planet".
Today in Russia there are three of the largest and most significant studios: Pilot, Melnitsa and Master-Film Film Company. In 2006, Soyuzmultfilm began to regain one of the leading positions again.
Well, who doesn't love cartoons? Now the industry has developed to such an extent that cartoons have such special effects and graphics that it is sometimes difficult to remember the old “flat” films with poor quality drawing, without all kinds of effects, such as 3D. Modern children will never understand what a cartoon with plasticine characters about a crow with cheese means, what simple short cartoons with faded colors and slightly muffled voices of heroes mean, and there’s nothing to say about filmstrips!
The history of animation is another stage in the development of cinema, because from the very beginning, cartoons were considered a separate film genre. This happened despite the fact that cartoons have less in common with cinema than with painting.
We owe cartoons to Joseph Plateau
Like any other history, the history of animation and animation has had its ups and downs, shifts and long stagnations. However, it is interesting because the production of cartoons has been developing almost constantly and continues to do so until now. The history of the emergence of animation is connected with the estate of the Belgian scientist Joseph Plateau. He is known for creating a toy called a strobe light in 1832. It is unlikely that our children would play with such a toy in the modern world, but the children of the 19th century liked such entertainment. A drawing was applied to a flat disk, for example, a running horse (as was the case with Plateau), and the next one was slightly different from the previous one, that is, the drawings depicted the sequence of actions of the animal during the jump. When the disc was spinning, it gave the impression of a moving picture.
First multiplier
But no matter how hard Joseph Plato tried to improve his installation, he failed to create a full-fledged cartoon. He gave way to the Frenchman Émile Reynaud, who created a similar apparatus called the praxinoscope, which consisted of a cylinder with the same step-by-step drawings applied to it as in a stroboscope.
Thus began the history of animation. Already at the end of the 17th century, the Frenchman founded a small optical theater, where he showed everyone who wanted comic performances 15 minutes long. Over time, the installation changed, a system of mirrors and lighting was added, which, of course, brought the world closer to such a magical action as a cartoon.
Animation for the first decades of its life continued to develop in France along with theater and cinema. Emil Kohl was famous for his excellent acting performances, but still, the animation hooked him more, and in 1908 he "drew" his first cartoon. To achieve realism, Kohl used photographs and copied objects from life, but still his brainchild was more like a comic book in motion than a film.
Ballet master of the theater - the founder of animation in Russia
As for Russian figures in the field of animation, they took cartoons to a new level, now dolls played the role of heroes. So in 1906 the first domestic cartoon was created, from which the history of animation in Russia began. choreographer of the Mariinsky Theatre, edited the cartoon, the characters of which were 12 dancing puppets.
A short film, recorded on 1.5 cm wide film, turned out to be too laborious work. For three months, Alexander ran from the camera to the production itself so often that he even wiped a hole in the floor. Shiryaev's dolls do not just move above the surface, like ghosts, they, like living ones, jump, spin in the air and perform incredible movements. Famous historians and animators still cannot unravel the secret of such activity of the characters. Say what you like, but the history of domestic animation is a complex and serious matter, so even the most advanced specialists do not always manage to fully understand the principles of operation of a particular device.
Vladislav Starevich - a bright "character" of Russian animation
The history of the creation of animation is associated with the names of French scientists and directors. Vladislav Starevich was definitely a "white crow" among these foreigners, because in 1912 he came up with a real 3D cartoon! No, the history of Russian animation has not yet reached the point where people thought of putting on special glasses, this man created a long puppet cartoon. It was black and white, strange and even scary, because it was a bit difficult to make beautiful characters with your own hands.
This cartoon was called “The Beautiful Lucanida, or the War of the Hornets and Mustaches”, the most interesting thing is that Vladislav Starevich used insects in his work, which was not accidental, because he was very fond of these creatures. It was from this person that cartoons with meaning began, because Starevich believed that the film should not only entertain, but also have some kind of subtext. And in general, his films were conceived as some teaching aids in biology about insects, the animator himself did not imagine that he would create a real work of art.
Starevich did not stop at Lukanida alone, later he created cartoons based on fables, now they began to resemble some kind of fairy tales.
The history of Soviet animation began in 1924, when a few artists produced a huge number of hand-drawn cartoons at the unpopular Kultkino studio today. Among them were "German Affairs and Deeds", "Soviet Toys", "A Case in Tokyo" and others. The speed of creating one cartoon has increased significantly, if earlier animators worked on one project for months, now the period has been reduced to 3 weeks (more in rare cases). This was done thanks to a breakthrough in the field of technology. Artists already had flat templates, which saved time and made the process of creating a cartoon less laborious. The animation of that time gave the world a huge number of cartoons that are of great importance not only in Russia, but throughout the world.
Alexander Ptushko
This person also contributed to the development of our animation. He is an architect by training and has also worked in the field of mechanical engineering. But when he got to Mosfilm, he realized that the creation of puppet cartoons was his calling. There he was able to bring to life his architectural skills, and also helped to create a good technical base at the most famous film studio in Russia.
He became especially famous after the creation of the cartoon "New Gulliver" in 1935. No, this is not an overlay of text on the plot, this is a kind of redrawing of Gulliver's Travels in the manner of the USSR. And what is most important and new in Ptushko's work is that he was able to combine two completely different areas in the film industry: cartoon and acting. Now the emotions of dolls, mass character, activity appear in cartoons, the work done by the master becomes obvious. The history of animation for children with kind and beautiful characters begins its countdown precisely from Ptushko.
Soon he becomes the director of the new cartoon studio Soyuzdetmultfilm, but for some reason he leaves his post after a while, then only that it ended is known about his animation activity. Alexander decided to devote himself to films. But in his further film works, he used the "chips" of animation.
Walt Disney and his "donation"
It turns out that the history of animation in Russia was built and pieced together not only by Russian researchers, scientists and just cartoon lovers, Walt Disney himself presented the Moscow Film Festival with a whole reel of high-quality film with a cartoon drawn by everyone favorite about the good old Mickey Mouse. Our domestic director was so impressed by the smooth and imperceptible change of frames and the quality of drawing that he realized that we wanted the same! However, in Russia so far there have been only puppet shows with, to put it mildly, unpresentable toys. In connection with the desire for improvement, a studio known to all Soviet and post-Soviet children, Soyuzmultfilm, was created.
"Soyuzmultfilm" - corporation of nostalgia
In 1935, our animators realized that it was time to change something in the life of drawn pictures, it was time to throw out these old dolls and start doing serious things. The union of several small studios scattered throughout the country began to create larger-scale works, many critics argue that the history of animation begins from this moment in our country. The first works of the studio were rather boring, as they were devoted to the development of progress in Europe, but by 1940 specialists from Leningrad moved to the Moscow Union. However, even after that, nothing good happened, since the war began, all organizations had a clear goal - to raise the patriotic spirit of the people.
In the post-war period, there was a sharp rise in the level of cartoon production. The viewer saw not the usual change of pictures and not the usual dolls, but realistic characters and interesting stories. All this was achieved through the use of new equipment, already tested by American comrade Walt Disney and his studio. For example, in 1952, engineers created exactly the same camera as at the Disney studio. New methods of shooting were created (the effect of image volume) and the old ones were brought to automatism. At this moment, cartoons acquire their new shell, instead of meaningless children's "movies" there are educational and subtext-based works. In addition to short films, full-length cartoons are being shot, such as The Snow Queen. In general, from the moment of the creation of Soyuzmultfilm, the history of animation in Russia begins. For children in those days, even small changes were noticeable and even the shortest films were appreciated.
1980-1990s
After experiencing a change in direction in animation, Soviet cartoons began to get better from the end of 1970. It was in that decade that such a famous cartoon as “Hedgehog in the Fog” appeared, which was watched, probably, by all children born before the 2000s. However, a special rise in the activity of multipliers was observed in the 80s of the last century. At that time, the famous cartoon film by Roman Kachanov "The Secret of the Third Planet" was released. It happened in 1981.
This picture won the hearts of many children of that time, and adults did not disdain watching it, to be honest. In the same year, the famous "Plasticine Crow" was released, marking the arrival of a new animator, Alexander Tatarsky, at the Ekran studio. A few years later, the same specialist creates the cartoon "The Other Side of the Moon", the name of which lures you to find out what is there, on the other side of the Moon?
But plasticine is only "flowers", since in Sverdlovsk, which actively participated in the country's animation activities, cartoon films were created using glass. Then the glass artist became famous. Among such glass drawings is “The Tale of the Goat”, released in 1985.
The end of the 1980s is marked by sharp and rough strokes in the drawing, poor image quality and general blurring, this is easy to see in the example of Koloboks Leading the Investigation. This fashion was like a disease that spread throughout the world of domestic animation, only a few artists got rid of the habit of sloppy drawing, although it can be called a separate style, as in painting.
In the 90s, Russia began to cooperate with foreign studios, artists signed contracts and, together with foreign specialists, created full-length cartoons. But still, the most patriotic artists remain at home, and with their help, the history of animation in our country continues.
Cartoon today
After the collapse of the Soviet Union, a crisis flourished not only in the life of the country, but also in the life of animation. It seemed that the history of animation for children, as well as for adults, was over. Studios existed only due to advertising and rare orders. But still, at that time there were works that won an award (“The Old Man and the Sea” and “The Winter's Tale”). Soyuzmultfilm was also destroyed, the authorities sold all the rights to the cartoons and completely destroyed the studio.
But already in 2002, for the first time, Russia used a computer to create animation, and even despite the "troubled" time in the history of animation, the work of Russian animators took pride of place in world competitions.
In 2006, the production of cartoons resumed in Russia, Prince Vladimir and Dwarf Nose came out. New studios appear: "Mill" and "Sunny House".
But it turned out that it is too early to rejoice, because 3 years after the release of the last famous films, a black streak of crisis began. Many studios were closed, and the state ceased to promote the development of Russian animation.
Now many domestic studios release cartoons beloved by everyone, sometimes stories do not fit into an hour-long film, so you have to draw 2-3, or even more parts. So far, failures in the history of animation in Russia are not expected.
Whatever you say, even adults love to watch cartoons and sometimes do it more attentively than their young children, and all because modern cartoons are bright, interesting and funny. Now they cannot be compared with puppet ones, where cockroaches and other insects participated. Nevertheless, any step that the history of Russian animation "climbed" is important, because each of them led to perfection.
In the 1910s, in the cinema studio of A.A. Khanzhonkov, he developed a special artistic technique and technique for staging and shooting three-dimensional puppet animation. He created the world's first three-dimensional animated films in Russia. So, in 1912, V.A. Starevich released parody animated films "Beautiful Lucanida, or the war of stags with barbels" and another called "Aviation Week of Insects".
Vladislav Starevich
Soviet graphic animation originated in 1924-1925. The first films were made by the artist A. Bushkin, first under the guidance of the famous director and experimenter Dziga Vertov, and then independently.
Films corresponded to the urgent tasks of political propaganda. These were mainly movie posters and satirical films.
Animators A. Bushkin and A. G. Ivanov used a very simple but expressive technique of flat puppets to create some films. This method frees artists from the laborious technique of making a huge number of phase-drawings. Flat puppets were cut out of thick paper or cardboard. In places, joints they were fastened with hinges. The puppet was superimposed either on the glass of the shooting table, behind which there was a drawn background or panorama, or directly on the drawn scenery - the scene for the characters in the film.
In one year 1924, the Kultkino studio with its small team of artists produced a number of animated films: "German Affairs and Deeds", "The Story of a Disappointment (Boris Savinkov)", "Soviet Toys" (dir. D. Vertov, animation A.Bushkina and A.Ivanov), "An Incident in Tokyo", "Humoresques" (dir. D.Vertov, animation by A.Bushkin and A.Belyakov).
The first period in the development of Soviet animation was experimental in nature. The complexity of the technical implementation of animated films led the artist to search for such technical methods that could be done by inexperienced artists. One of the methods that took hold over the years in the production of cartoons was the so-called "landscape" method. All the movements necessary for the development of the action in the plot were divided into cyclical movements that could be repeated many times. For example, the gait of people or the movements of animals, the flight of birds, the passage of a train, a car, etc. Each such cycle of movement was an "album".
The further development of the art of animation was greatly influenced by the creation in Moscow in 1924 of the first experimental animation workshop at the State College of Cinematography, which included young Soviet artists who graduated from VKHUTEMAS (Higher Art and Technical Workshops), (N.P. Khodataev, O.P. .Khodataeva, Yu.A.Merkulov, 3.P.Komissarenko, sisters V. and 3.Brumberg,
Valentina and Zinaida Brumberg
L. Blatova, V. G. Suteev, I. P. Ivanov-Vano, operators G. Kabalov and V. Shulman).
Vladimir Suteev
The Experimental Animation Workshop released its first animated film in 1925, the political pamphlet China on Fire. In this great collective work, the artists gained their first experience in animating drawings and practically developed the technology for the production of a cartoon film. The film "China on Fire" in many of its components was of low quality, visually diverse and drawn out. Rather, it was a kind of illustration of political events, rather than a cinematic work. Despite these shortcomings, the film attracted the attention of the public due to both topical material and an interesting new technique that made the caricature drawing come to life on the screen.
The era of the rapid development of the country required extensive agitation in all sectors of production, agriculture, cooperation, the implementation of state loans, as well as in our daily life. In this regard, the Soviet animation of that time played a great effective role, especially in the field of scientific and educational films, propaganda posters, political cartoons and advertising, where many works, despite the primitiveness of technology, reached a high artistic quality. The works of A. Bushkin "Problems of Nutrition", "Take Care of the Eyes", "Blood Circulation" and others were already a solid contribution to the field of scientific and educational cinematography and played the role of real models, according to which this type of animation was further developed.
In 1926, at the Mezhrabpom-Rus film factory, a group of artists (Yu. Merkulov, D. Cherkes, I. Ivanov-Vano, cameraman L. Kosmatoe)
begins to work on the first children's animated film "Senka the African", based on the fairy tales of Korney Chukovsky. The picture was released at the beginning of 1927. For all its shortcomings, the film found a positive response in the press and looked with great interest to the children's audience. This success encouraged artists to create other children's films. So, in 1927, the painting "Cockroach" was published, made by the artist A.V. Ivanov, also based on the fairy tale by K. Chukovsky. Then comes the picture "Rink", made in terms of a naive children's drawing (the work of artists D. Cherkes and I. Ivanov-Vano). Here, the artists deliberately allowed a convention: all the drawings were outlined with a white line on a black background, since during the demonstration such a drawing was less tiring for the child viewer.
Ivan Ivanov-Vano
In 1928-1929. new films for children are being released: "The Samoyed Boy", which jokingly exposes the religious survivals of the northern peoples of our country (the work of artists N. Khodataev, O. Khodataeva and V. and 3. Brumberg) and "The Adventures of Baron Munchausen" - the work of artists D .Cherkes and I.Ivanov-Vano. This is how the new Soviet art of the animated film is gradually born.
At this time, many theater directors began to be interested in animation. So, in 1927, the talented director and artistic director of the Moscow Theater for Children, Natalia Sats, introduced for the first time in the play "The Negro and the Monkey" animation, which was made by the artists N. and O. Khodataev and V. and Z. Brumberg. For this production, a special screen was mounted on the stage. Animation, projected on him during the performance, transferred the development of the action from the stage to the screen. The play "The Negro and the Monkey" was a huge success and did not leave the theater stage for a long time. No less interesting is the second use of animation by Natalia Sats in the play "About Dziuba".
Here, the animation was shown right on the scenery, illustrating the dreams and fantasy of the boy Dzyuba at the right time. Thanks to this, the atmosphere of a fairy tale immediately arose in the performance, the charm of which was helped by the talented music of the composer Leonid Polovinkin, used in sync with the animation. Thus, the rhythmic fusion of animation with music and even with the action of an actor on stage was carried out much earlier than the birth of sound cinema, where this method of clearly synchronizing the action of a cartoon character with sound produced a great sensation in its time.
The cadres of Soviet animation workers are gradually replenished. The artist V. Levandovsky begins to engage in animation at the Odessa film studio. In 1927, the first Ukrainian animated film "The Tale of the Straw Bull" was released, staged by V. Levandovsky based on a well-known folk tale. In 1928, his second film, The Tale of the Hostess Squirrel and the Villain Mouse, was released, which he made at the newly organized film studio in Kyiv. In addition to high visual qualities, this film was especially distinguished by the smoothness and expressiveness of the movement of characters.
In Leningrad, in the field of animated film, in addition to the artists A. Presnyakov and I. Sorokhtin, the artist V. Grigoriev began to work at the Sovkino factory, who in 1927 released two films, Hold the Chubarovets and Two Rickshaws according to the script by N. Agnivtseva, text of poems by V. Volzhenin. Around the same time, the artist M. Tsekhanovsky began working in the field of animation,
Mikhail Tsekhanovsky
a little later, the artists M. Pashchenko, V. Syumkin and A. Sinitsyn. In Moscow - artists L. Atamanov,
Lev Atamanov
L.Amalrik, P.Mizyakin, A.Belyakov, D.Babichenko, P.Nosov, P.Sazonov, Yu.Popov and others. Soviet animation is enriched with new talented directors and artists. This period is interesting for the artists' search for new technological techniques in the art of animation and their desire to create a permanent hero of a cartoon film.
Leonid Amalrik
Director A.V. Ivanov, using a special method of combined shooting, developed by the designer N. Zhelinsky, released in 1928 several animated films with the participation of the cartoon character of the Negro Tip-Top. This is how the permanent cartoon character Tip-Top appeared, who, acting in full-scale shots, travels with a visiting foreign delegation around Moscow. In parallel with him, another cartoon character Bratishkin, created by the artist Y. Merkulov, begins to labor on the screens, who participates in various propaganda posters and instructive films: Bratishkin enters Osoaviakhim, Bratishkin takes books to the village, Bratishkin fights for cleanliness at the factory, etc.
Leningrad artists A. Presnyakov and I. Sorokhtin created the character Buzilka, who first appeared in 1928 in the film "Whisperers", in 1929 in the film "Buzilka Against Marriage" and then goes on to other propaganda films. The desire of our artists to create the image of a permanent cartoon character did not bring an effective result. These characters were not successful and faded from the screen relatively quickly. And not only because from the external, purely pictorial side, they were made uninteresting. They were inexpressive mainly because, in essence, they did not represent anyone, they did not have certain characteristics of representatives of any stratum of society, they were out of the environment: however, Tip-Top was given a pioneer tie, and Buzilka was given a large wrench, which he constantly carried with him - however, this was only an external characteristic of the heroes of the film - a "sign", but not their inner content.
In 1928, the children's film "Offended Letters" was released according to the script by Agnivtsev (artists A. Presnyakov, I. Sorokhtin, S. Zhukov and V. Kuklina), in which hand-drawn animation is the same as that of the director A. V. Ivanov, combined with field photography. In this combined film, offended letters go to complain about lazy children in the People's Commissariat of Education, pass through the streets, overcome a number of obstacles, end up in a correspondence bureau, where they create a stir among typists, and finally safely make their way to the People's Commissar's office, climb onto his table and hand them to Comrade Lunacharsky your petition. The viewer in these combined animated frames was struck by the novelty of the technique, he was unexpectedly surprised by such a technical trick when the cartoon character acted in a natural environment, next to a live actor.
Already in this early period, Soviet animation showed itself in a variety of genres, with the search for new visual solutions not only in cinema, but also in the theater. Experimenting extensively in animation, both in the field of technology and in the field of various subjects, in search of various genres, animators in those years mastered, acquired and accumulated the production and creative experience of this new type of cinematography, which subsequently led to a significant rise in art. drawn film in our country.
