In the middle 1950s, the studio began to abandon the naturalistic representation of hand-drawn films, prioritizing more conventional forms. The volume of filmmaking increased (at the peak of production by the beginning of the 1970s, the studio released more than 30 films a year), including annual production of feature films. In 1957, Lev Atamanov put into practice the technique of assigning individual animators to specific characters (e.g. the role of Ole Lukøje was completely "played" by Fyodor Khitruk in the film The Snow Queen). Among the most famous feature films of the studio of the second half of the 1950s: The Enchanted Boy (1955) by Alexandra Snezhko-Blotskaya and , which became the laureate of many prestigious film screenings, (1955) by the Brumberg sisters, (1955) by , (1956) by Olga Khodataeva, The Twelve months (1956) by Ivan Ivanov-Vano, (1957) by Ivan Ivanov-Vano, (1957) by Olga Khodataeva and Leonid Aristov, (1956), by Leonid Amalrik (1958) by Leonid Amalrik, (1956) by Boris Stepantsev and , (1958) by Boris Stepantsev and , The Adventures of Buratino (1959) by Ivan Ivanov-Vano and . The studio also created cartoons for an adult audience: (1954) by , (1954) by and Boris Stepantsev, (1955) by and Roman Davydov, (1957) by , (1957) by Yevgeny Migunov Familiar Pictures was shot entirely in an innovative for that time conventional manner. Aesthetic switch On the cusp of the 1960s, a crucial moment in the history of Russian animation occurred. The so-called "aesthetic switch" began with a whole galaxy of films: The Key (1961) by Lev Atamanov, (1961) by Roman Davydov, Wild Swans (1962) by Mikhail and Vera Tsekhanovsky, (1962) by and Sergey Yutkevich, (1962) by Ivan Ivanov-Vano and Iosif Boyarsky Fyodor Khitruk’s directorial debut The Story of a Crime (1962). Since the 1960s, the range of stylistic, genre and technological searches and solutions had been continuously expanded and developed. The old production system prevented art from moving forward, and Fyodor Khitruk introduced a "team method" of working, in which animators were involved in film production from the very beginning. In the 1960s, Soyuzmultfilm was also actively developing puppet animation. Colour, decoration, texture of the material were applied in a new way. Semi-dimensional, bas-relief, including paper dolls began to be used. A new breakthrough in children's puppet animation began with the famous films A Little Frog Is looking for His Father (1964) and The Mitten (1967) by Roman Kachanov, (1962) and (1968)