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History of Russian animation. 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 ...
The Glass Harmonica (film) The Glass Harmonica. (film) The Glass Harmonica (Russian: Стеклянная гармоника, romanized: Steklyannaya Garmonika) is a 1968 Soviet animated short film directed by Andrei Khrzhanovsky. It gained notoriety for being banned in the USSR until the perestroika. [ 1] It is also notable for its unique and ...
The New Gulliver ( Russian: Новый Гулливер, Novyy Gullivyer) is a Soviet stop motion - animated cartoon, and the first to make such extensive use of puppet animation, running almost all the way through the film (it begins and ends with short live-action sequences). [3] [4] The film was released in 1935 to widespread acclaim and ...
v. t. e. Propaganda in the Soviet Union was the practice of state-directed communication aimed at promoting class conflict, proletarian internationalism, the goals of the Communist Party of the Soviet Union, and the party itself.
World War II political cartoons. Low's cartoon Rendezvous. Political cartoons produced during World War II by both Allied and Axis powers commented upon the events, personalities and politics of the war. Governments used them for propaganda and public information. [dubious – discuss] Individuals expressed their own political views and ...
Black and White is a 1932 Soviet animated short film directed by Ivan Ivanov-Vano and Leonid Amalrik. Based on the poem of the same name written By Vladimir Maykovsky . Which it was narrated and voiced by Konstantin Eggert .
Propaganda techniques are methods used in propaganda to convince an audience to believe what the propagandist wants them to believe. Many propaganda techniques are based on socio-psychological research. Many of these same techniques can be classified as logical fallacies or abusive power and control tactics.
In the post-war years, the studio stopped the direct lifts of American animation techniques, and the original aesthetic "canon" of the children's Soviet cartoon was determined. [3] The best Soviet cartoons of the second half of the 1940s were distinguished by impressive plasticity and facial expressions, harmony of word and movement.