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. Soyuzmultfilm, 1964–1991 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. Mini-series and anthologies became common, while the amount of feature films decreased dramatically. Director Boris Stepantsev was known for experimenting a lot. Among his films was another postmodern comedy Vovka in the Far Far Away Kingdom (1965), the paint-on-glass animation Song of a Falcon (1967), the highly popular Karlsson-on-the-Roof dilogy (1968–1970) that made use of xerography and The Nutcracker adaptation (1973) that presented a familiar story without a single spoken word. Some patriarchs also joined the new wave. Ivanov-Vano was appointed an artistic director of the puppet division where he made a number of stop motion/cutout films inspired by Russian folk art, like Lefty (1964) that addressed lubok, Go There, Don't Know Where (1966) that used elements of rayok and skomorokh theatre, The Seasons (1969) based around Tchaikovsky's two character pieces, presented as a combination of Dymkovo toys and lace, and the award-winning The Battle of Kerzhenets (1971) where frescos and icons came to life. Another well-respected old-timer Boris Dyozhkin launched a popular series of short comedy films about two teams that competed in various sport disciplines such as football, hockey, skiing, boxing and so on. It ran from 1963 to 1981 and was notable for fast-paced slapstick synchronized with music. Among the most political animators were Fyodor Khitruk whose satire The Man in the Frame (1966) was cut by censors and Andrei Khrzhanovsky whose surrealist film (1968) was shelved for many years. On the other hand, Khitruk's (1965), Film, Film, Film (1968) and the Winnie-the-Pooh trilogy in particular became an instant success among both kids and adults. Roman