The early stages of Russian animation history between 1900 and 1930 was a period of experimentation of styles and techniques. Different animation mediums used at this time were puppet animation and stop motion, although they were used less as the century progressed.
It was after world war two that influences from Disney could be seen in Russia's animation. Following the creation of Soyuzdetmultfilm-Studio,
"Genre and styled were completely hindered by the "social realism" mandate. As such, all creative talent and technologies at Soyuzmultfilm during the 1940s and 1950s were used solely for the creation of moralistic fables and fairy tales" ( Animation Art, P 140)
The cinematography and the narrative are beautifully conceived and executed in animation during this time. Ivan Ivanov-Vano, who is known as Russia's Disney, made some of his most famous films during this period, such as "The Twelve Months"(1956). The main problem of the social realism genre was that the animation became generic and lacked imagination since the films were being produced for commercial means rather than artistic means.
The Snow Queen- Lev Atamanov
The Snow Queen- Lev Atamanov
The Snow Queen is an example of animation from the "Social Realism" period and it is one of Lev Atamanov's most popular films. The film utilises the folk idiom of Russian costume and design in a range of vibrant colour and pattern. It also exploits the seasonal changes of landscape and the rich variety of Russian architecture.
The Hedgehog in the Fog- Yuriy Norshteyn
Battle at Kerzhenets- Yuriy Norshteyn and Ivan Ivano-Vano
The Hedgehog in the Fog- Yuriy Norshteyn
During the 1960's, Russian animation returned to free experimentation in its animation and a range of new styles and mediums were used creating more artistic and imaginative films. One of the main animators is this period is Yuriy Norshteyn. His animation the Hedgehog In The Fog has won many awards. The film is based on a Russian folk tale and the technique Norshteyn uses for his animation creates rich textures and detail in his characters and backgrounds.
"Norshteyn uses a special technique in his animation, involving multiple glass planes to give his animation a three-dimensional look. The camera is placed at the top looking down on a series of glass planes about a meter deep (one every 25–30 cm). The individual glass planes can move horizontally as well as toward and away from the camera (to give the effect of a character moving closer or further away)." http://en.wikipedia.org/wiki/Yuriy_Norshteyn
Battle at Kerzhenets- Yuriy Norshteyn and Ivan Ivano-Vano
The same technique is used in Norshteyn's older film "The Battle at Kerzhenets" which was a collaboration with Ivanov-Vano. The use of old frescos in this animation is reminiscent of old tapestries. The Bayeux tapestry in France supplies ready made narrative form for the illustration of everyday life and epic events, it also lends itself easily to animation. In the same way, Russian icons and tapestries tell the story of their historical events. This film successfully implements the narrative potential of Russian fresco and tapestry, depicting famous battles in history. The crackulure and rich colour effects are used in background sequences.
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