Ресей анимациясының тарихы

none
The history of Russian animation is the visual art form 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. It remains a nearly unexplored field in film theory and history outside Russia.

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 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. They were mostly forgotten during the Soviet period, mentioned only in the memoirs of his students. The second person to independently discover animation was 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 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 and A Terrible Vengeance (both from 1913). Starevich left Russia after the October Revolution, and for many years, the animation industry was paralyzed.

In the early years after the October Revolution, Russian animation remained undeveloped compared to cinema or 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 films (called flat marionettes at the time) in style of 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 Sovkino such as Советские игрушки (фильм), Humoresques and episodes of Kino Pravda. In 1924, Mezhrabpom Rus released the critically acclaimed Межпланетная революция that satirized Aelita. It also utilized cutout animation along with the 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 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 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. During the late 1920s, the industry started moving away from agitation. In 1927, Merkulov, Ivanov Vano and Черкес, Даниил Яковлевич directed the first Soviet cartoon aimed at children — Сенька Африканец based on the fairy tale in verse by Korney Chukovsky. Made at Mezhrabpom Rus, it combined traditional animation and some live action scenes. Same year Ivanov Vano and Cherkes worked on lt=The Skating Rink, another hand drawn short that featured a distinguishable art style (white lines against black background). 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. 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. In 1928, Nikolai Khodataev, his sister Olga Khodataeva and the Brumberg sisters produced a hand drawn animated short Самоедский мальчик stylized as traditional Nenets art that followed a dramatic narrative and used an innovative technique of printing on thin celluloid. Mikhail Tsekhanovsky's 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 colorized Soviet animated film and one of the first to get a musical score and a voiceover by Daniil Kharms. 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 Джябжа (1938) by Пащенко, Мстислав Сергеевич. The team actively applied color using the original dye transfer process invented by Lenfilm specialists, similar to Technicolor. Tsekhanovsky is also credited with invention of graphical sound along with Arseny Avraamov and Шолпо, Евгений Александрович. They were challenged by a group led by lt=Aleksandr Ivanov who made a number of animated shorts based on their own idea of "drawing paper sound". 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. 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 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 Мершин, Павел Михайлович. In 1939, Ptushko directed another feature — The Golden Key based on the popular Soviet fairy tale; it also combined stop motion with live action, but to a lesser extent.

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. 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 Носов, Пётр Николаевич started "developing the Disney style". At the same time Aleksandr Ivanov and Бабиченко, Дмитрий Наумович made a radical shift towards agitprop and socialist realism with films such as Grandfather Ivan and War Chronicles. 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. Among Ivanov's first students were Lev Milchin, Yevgeniy Migunov and Сазонов, Анатолий Пантелеймонович. With the start of the Great Patriotic War the studio was evacuated to Samarkand along with some key animators who continued teaching students and producing films, including anti fascist propaganda. In 1943, they returned to Moscow and released several kids movies such as The Tale of Tsar Saltan (1943) by the Brumberg sisters and 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. One of the leading directors, Vladimir Suteev, left the industry on his return for personal reasons. 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) and The Humpbacked Horse (1947) that was used by Walt Disney as a teaching tool for his artists. In 1948, lt=''The Champion short comedy film was accused of "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. 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 and Fedoskino miniatures 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. Many leading actors were involved, such as Mikhail Astangov who appeared as the beast in The Scarlet Flower (1952). Some directors made extensive use of this method, while others mixed it with traditional animation as in The Snow Queen (1957) by Lev Atamanov, arguably the most famous work of that time. They were followed by Vladimir Degtyaryov who produced many films such as Beloved Beauty (1958) and Кто сказал «мяу»? (1962), Roman Kachanov and Каранович, Анатолий Георгиевич who directed the award winning Влюблённое облако (1959) that combined stop motion, traditional and cutout animation, Курчевский, Вадим Владимирович and Nikolay Serebryakov whose style was marked by extensive aesthetic search for "combination of realism and the baroque". In 1957, Migunov directed 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. 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 postmodern Петя и Красная Шапочка that leant towards Tex Avery. 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 by Lev Atamanov, Cipollino by Boris Dyozhkin and The Wild Swans by Mikhail and Vera Tsekhanovsky — the first Soviet widescreen feature that introduced Gothic art style. 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. 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.

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. and Andrei Khrzhanovsky whose surrealist film lt=The Glass Harmonica (1968) was shelved for many years. On the other hand, Khitruk's Каникулы Бонифация (1965), Film, Film, Film (1968) and the Winnie the Pooh trilogy in particular became an instant success among both kids and adults. Roman Kachanov made numerous films for children. He started with puppet animation such as A Little Frog Is looking for His Father, The Mitten and, most famously, the 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). 1969 saw the birth of Russia's most popular animation series Well, Just You Wait! directed by Vyacheslav Kotyonochkin. 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 subtexts 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. Also, in 1969, a long running animated anthology series Happy Merry Go Round was founded by Anatoly Petrov and Galina Barinova. Each episode combined several short experimental films by the beginning directors like Leonid Nosyrev, Угаров, Валерий Михайлович, Eduard Nazarov, Gennady Sokolsky, Garri Bardin and lt=Aleksandr Davydov. Gennady Sokolsky focused on environmental films with attractive characters and ambient soundtracks: lt=Silver Hoof (1977), Мышонок Пик (1978) and The Adventures of Lolo the Penguin (1986), a joined 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 Yuri Koval. In 1987, seven of them were combined into a Laughter and Grief by the White Sea feature film. Vladimir Tarasov was a rare Soviet director who dedicated himself to the science fiction genre. Among his prominent works were Contact (1978) influenced by Yellow Submarine, Shooting Range (1979), Contract (1985) and 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 Grey Wolf & Little Red Riding Hood (1991) was full of allusions to the upcoming end of the USSR. Cat's movements and mimics were modelled using the second order differential equation system. It was also one of the first attempts to render realistic animal motion digitally. It was later shown to students at mathematics competitions and used for educational purposes at schools. The Sverdlovsk Film Studio also gained fame for its paint on glass animation with complete new level of quality by Караев, Алексей Борисович and Aleksandr Petrov (Welcome!, 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) responsible for TV animation mostly based on the Ural folklore, Kuybyshevtelefilm (Kuybyshev) known for its stop motion Forest Tales series, Saratovtelefilm (Saratov) and some others.

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 leased enterprise. In 1993, Yuri Norstein, Fyodor Khitruk, Andrei Khrzhanovsky and Eduard Nazarov founded the SHAR Studio meant for training animators and producing films. Garri Bardin also founded the Stayer animation studio where he continued directing claymation and stop motion films. Others joined 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 American 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. When animators realized it, they managed to overthrow him with the help from the 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. 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's Oscar winning The Old Man and the Sea (1999). An ambitious project in 12 series Dunno on the Moon was released between 1997 and 1999. Based on the Soviet sci fi 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. 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 Studio's 2006 Prince Vladimir, based on early history of 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. Especial released on July 31, 2006 was Russia's first CG animated feature film. 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 Morevna Project was launched, aiming at creating a science fiction re telling the folk tale of Marya Morevna as an anime primarily by using the free software Synfig tool and releasing it under a Creative Commons license. 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. 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. In 2010, many of the major studios, including 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. In addition, Disney has been accused of using anti competitive practices to sideline domestic Russian competition on TV channels. The Center of National Film CG animated film Space Dogs, released on March 18, 2010 and about the Soviet space dogs 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), 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. 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 and began airing as part of The CW4Kids block on The CW on September 13, 2008, under the name GoGoRiki. 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. In 2010, the animated series The Fixies premiered on Karusel and Russia 1. In 2018, Soyuzmultfilm, announced plans to restore films from its Golden Collection. 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.