us and the new year is not the new year. here the tsarevich congratulated on the new year, and he hangs zigoverts on this new year's tree of his all, obsolete heroes of pre-revolutionary russia and beyond. actually, puppet animation begins to revive only in the thirties. when sound cinema already appeared, when new people appeared who became interested not only in puppets, but also in combining puppets and people, what was it? well, it cannot be said that these were some unprecedented experiments, but for soviet animation, of course, this was generally a novelty, because that, well, firstly, in the twenties they did not understand for a long time. and what exactly to do with this animation were artists, and enthusiasts here ivan ivanovna is one rather a fairy in soviet animation, who was inspired by the films of stareevich, who started working, and in a small animation workshop at a film factory. engineers on the bar, made promotional films by and large, the animation was of an applied

nature. she had to advertise products, new tapes, create titles for feature films, and by the end of the twenties, starting to realize this in the country, which probably needs to put animation into a more meaningful applied channel and start working for a children's audience wins the hearts of a children's audience to create not just remote films that will be e children. well, i don’t know how to motivate the pioneers to behave well, that is, the screen adaptation of fairy tales begins in the world in one way or another, and at that time experiments begin. some yes , the first sound soviet film appears in the post-screen version, and poems are put by yakovlevich barshak, who is created by an illustrator. and mikhail tsekhanovsky the so-called concept of drawn sound appears, or the terminx begins to be used, including for the sound of animation, and so on. well, it's still pretty marginal. but, let's say, alexander petushko, who really makes fairy tales, he uses dolls to show, let's say

a new version of gulliver is now soviet pioneer gets into a certain country where he is mistaken for gulliver and he organizes something like a revolution there let's see a fragment , that is, be careful , maybe it's from your car? oh hello honey mountain here, uh, the artist was sara moker, she actually created all these dolls. and she was even awarded a special diploma for creating types at the first moscow festival, which was in the thirty-fifth year. and here is the second prize, at this festival he received, by

the way, golddisney for three piglets. yes, in fact, this is a very important event in the history of russian animation, because in 1935, when the festival came to one of the sessions, fedor ilyevich came to one of the sessions, the hands of the future, the author of winnie the pooh, the story of a crime many wonderful classic soviet films that came out after many decades. he beat the animation so much saying, forest films, what did he decide? eh, in it to stay for life to work in this direction. well, actually. uh, in general , the thirties are characterized by the fact that soviet animation fluctuates like this, like a pendulum between two belts, between disney and the need to operate on one's own domestic traditions. there is even such a slogan in the fight for the soviet mickey mouse when well, it literally copies disney technology, and in general, all the aesthetics of style, yes, it copies animals in large numbers, such a cinematic zoo appears, then all this, on the contrary , is expelled from the screens, well, let's say partially, the method

of eratoscopy reigns, when we call it the eclair method, because the machine on which they created, and these animated films of the company was called cleard. revolutionary , so this eclair method in general after military animation dominates and just the same experimenter mikhail tsekhanovsky, who was heavily reviled in the thirties for his formal experiments with film. uh, film adaptations of the tale of the tsar. oh sorry fairy tale for workers. baldi cursed in the format of experiments and even defeated this film; in general, he will remain such a main one. one of the main adherents of this method, eller, who, in general, if they expose that we are first filmed by real actors, then their image is redrawn and further. uh, so it's going to be such a lively movie. and it went on for about until the beginning of the sixties, when the so-called aesthetic revolution takes place in soviet animation and all sorts of films appear that we know, love, adore and, in

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component for better penetration into the focus of pain and inflammation pentalgin extract against pain and inflammation in muscles and joints. this podcast was seen by eisenstein, i am a film historian stanislavtsedinsky with me, the studio of my colleague, the story of kim was given by ryabchikov and today, we are talking about russian animation. actually one of such important films. uh was filmed by lev atamanov , a wonderful soviet director and animator who personally knew the starevich, because as soon as the borders opened, russian animators. soviet animators began to actively travel to foreign festivals lev atamanov and ivan ivanovna first of all ran when they got to paris to visit the starevich to get acquainted personally. well, then, what happened next, and then soviet animators began to create their own classic films, one of which films began to be watched. others began to go abroad and that was the start.

uh, the influence, including on japanese anime, which today, well, it seems to dominate the world, and then, in the fifties and sixties , japanese animators just got into soviet films with great interest and surprise watched well, for example, the snow queen there let's see it. hayao miyazaki himself is very fond of telling , often repeated in various interviews, that for him atamanov's film has become

some kind of absolute visual conceptual breakthrough. it was so different from what existed then in japanese animation that it has signs that made it so its here, uh, the main source of inspiration and visually, yes, what does it look like? and how the characters of the snow queen gerda herself are decided there, how they develop, and so on. and, in its principle. e, very, uh, i admired this ability of soviet animators to draw and paint to create images of, uh, heroes. and here we need to mention not only the directors, but also the animators who created those images that we know we love so far. here, of course, the main figure. it seems to me at least for e, just the time that he spent in the world and in the anima. and this is leonid shvartsman leonid arnolyevich shvartsman, who died just a couple of years ago at the age of more than 100 years and we know him as

creators of cheburashka yes leonid shvartsman - it's not easy. uh, cartoonist this is a master of images, because, well, probably, the lion's share of all the characters that we know we see on the screen in our favorite soviet animation. this is schwartzman, this is a kitten named iff. this is cheburashka, this is the snow queen, where she was one of the artists and animators coming up with these images. in general, very often artists are animators. this is a big team. there are different specializations. some people have one strong point. someone else. so the schwarzna was exactly, but less invent characters, which in general. and since he saw, he didn’t see anyone else, for example, cheburashka the form that we all know was invented by schwartz , other artists who illustrated the books of eduard uspensky had absolutely some other contours of the proportions of this character and eats. yes, it was exactly the idea of ​​the legendaries, which yes, let's see,

of course. pioneers, pioneers, the most real i would also like to walk like that , you have to do a lot of good things to become a pioneer, of course, it's clear. here comes another one. it seems to me such an element that makes soviet animation in the sixties, seventies, even eighties so popular so popular until now, when we had a survey on the issue, in my opinion, in 2014, as what is your favorite

cartoon and in the first place there well, wait a minute in 2014 in second place is masha and the bear in modern and in third place is shrek and troy from prostokvashino, that's the whole series of prostokvashino, that is. uh, we still love soviet animation, despite the fact that a lot of full-length films appeared, new heroes appeared, completely new technologies appeared, and even they managed to do it all quite. in general, manually then. really. in fact, on my stareevich page, which was founded and in what sense was maintained by a storm or despite circumstances. this is some handicraft, because a lot, of course, is in touch in the classic cartoon. well, they didn't do it by hand. that is, the differences were different workshops that did different things, but this one handicraft work. in general, everything is done by hand, all this animation was created by enu , as it were, retained its character until the very end of the soviet union until the end of this golden

period and prostokvashino about this sense it is, well, the only one of these is also part of the vivid examples on the one hand. this is a continuation of the universe of eduard uspensky a.s. the other side. this is acting animation. here, in fact, the images that the animators come up with. with his hero cheburashka money to the crocodile, how they should move on the screen, yes, because the nature of the animation is the nature of the character is manifested precisely in the nature of the movement. here, and an additional background in the case of prostokvashino is, of course, the people who voiced these films. and this is oleg tabakov, this is tours. yes, talyzina voices her mother. and this, of course, is what gives, but these characters have such a spark of life, or something, and let’s say in pooh’s wine. if there weren’t leons , there wouldn’t be this winnie the pooh of ours, which is completely special,

which viewers abroad are often quoted above disney's winnie the pooh here. he's actually quite different. yes, but it’s just pickled, and so many fell in love, because on the one hand. this is a very literary story. she hit the nerve in the soviet audience, and in a lot. m. this is a story about assimilation, oddly enough, about how children are trying to be independent and adults. well, in general, why is this story still relevant alive? why is it filming its continuation in our time, because there is such a potential that allows. well, how would the children take themselves as a premiere, do not say the role model for fedor as a boy, maybe uncle that's a big question, but there are again talking dogs cats why are they saying no one questions this , everyone accepts it when it's a given, let's remind the audience what it looks like? will you come with me? i went to the water, according to the cow of my farm stock for the winter, and you are the ball, we

will stay. you'd better come to us for the holidays and visit us on weekends. stop. here you keep it more fun with him , who will it be there? this is what i brought. oh, how inconvenient. you completely forgot about pechkin, and rightly so, he is so harmful. i'm sorry, i. why was it harmful, because i didn’t have a bicycle. and now i’ll immediately start to finish and some little animal. what is important, here in these favorite soviet cartoons and in cheburashka and in well, you wait and in prostokvashino this is

already a serial. history is already, uh, something that picks you up, and you can’t live without it and wait for the next series, of course, but in the soviet film industry at soyuzmultfilm , these are still relatively pinpoint yes , individual stories, but now, of course, children adore and adults some love animated series that combine in themselves, in fact, the interest for e children's viewers and for an adult viewer, the first thing that comes to mind, of course, is the example of smesharikov. what is their feature? why are they popular? so well, because smeshariki, of course, but at the same time as a good series, as a good innovative film. trying to reach a wide variety of audiences. is there something there that they can understand? what adults can laugh at and in general, this is really a family- friendly movie, but at the same time, sometimes individual episodes here, of course, do not notice this parody. some adult films, for example, i don't know any hollywood movie or hitchcock there. well, in general, there, maybe

, anything. this is very unexpected in terms of twists and turns, and the presentation of the material, there is a series, and you rightly noticed about the author's approach, because smeshariki is not just a series, which is one of many , this is one series, the creators of which were anatoly prokhorov, the man who stood a-a at the basics and drains in the film studio. uh, animation film studio pilot. the pilot who was created, but remember the tatar and kovrov, plasticine crow last year's snow was falling , these people. here they are all the eighties, when it became possible, they decided to found, in fact, an animation studio. and there, well, in general, a lot of masterpieces were created, and this is the dna that, in my opinion, emphasized stareevich again. and if you remember , the symbolic, of course indirect, is not important, but for all of our patriotic animation. here the author's approach has always dominated and smesharikov is also evident. you see, this, of course, is a franchise such there are quite a few franchises, in principle, masha and the bears. here they are very popular abroad. yes

russian animation. this is probably the most viable part of the russian film industry. i don't want to see directors of feature films here, especially documentaries, but nevertheless, and this is successfully sold all over the world and, uh, they are successful with a wide variety of children's audiences. well, and as a result, adults, because, well, as it were, and adults do not necessarily watch this often with their children. well, where does it grow from, actually not from the tsarevich directly, but at least post-war and animation animation from such figures as students fedor savelyevich fedor ivan ivanovna vano well, for example, a simple chain and ivan ivanovna considered his spiritual mentor a teacher than a teacher stanislav. uh, mikhail kolova, who made the movie shit, a few years ago. this is ours, probably the most famous and modern master. the buyer was just ivanov fano. here you have an adjunct or inconsistency, the same with a sly one. yes his students today

this is konstantin branzit, who received an oscar for his film and today he is making, uh, full-length films from a for the melnitsa a studio about heroes. yes, alexander petrov participates in their creation, for example, he works in a unique style of painting, and this is on glass, yes, the old man and morris who he received an oscar and this is mikhail aldashin is such a wonderful master who made the film insects well, many others, all these people are either direct students of the russian hand, or people who, in general, thanks to him, took place with something they owe him, and they work both in commercial projects and in those projects that are done for the soul.