became a pioneering work and was followed by other cutout films (called flat marionettes at the time) in style of editorial cartoons that satirized bourgeoisie, Church and Western countries, drawn and animated in a sketchy manner; those included films and sketches by Vetrov and Aleksandr Bushkin for Sovkino such as , Humoresques and episodes of Kino-Pravda. In 1924, Mezhrabpom-Rus released the critically acclaimed that satirized Aelita. It also utilized cutout animation along with the constructivism art style and was developed independently by three artists — Nikolai Khodataev, Zenon Komissarenko and Yuri Merkulov — who headed the first Soviet animation studio at the All-Union Technicum of Cinematography. In 1925, it was followed by a government-backed China in Flames made by the same team along with Ivan Ivanov-Vano, Vladimir Suteev and the Brumberg sisters. With 1000 meters of film and 14 frames per second it ran over 50 minutes at the time, which made it the first Soviet animated feature film and one of the first in the world. During the late 1920s, the industry started moving away from agitation. In 1927, Merkulov, Ivanov-Vano and directed the first Soviet cartoon aimed at children — based on the fairy tale in verse by Korney Chukovsky. Made at Mezhrabpom-Rus, it combined traditional animation and some live action scenes. Same year Ivanov-Vano and Cherkes worked on , another hand-drawn short that featured a distinguishable art style (white lines against black background). It was written and directed by Yuri Zhelyabuzhsky and Nikolai Bartram, founder of the Moscow Toy Museum, who also produced Bolvashka's Adventures that combined live action and stop motion animation in a story about a Pinocchio-like wooden boy. The idea was extended in a spiritual successor — Bratishkin's Adventures, the first Soviet animated series created between 1928 and 1931 by Yuri Merkulov and Aleksandr Ptushko at Mosfilm. In 1928, Nikolai Khodataev, his sister Olga Khodataeva and the Brumberg sisters produced a hand-drawn animated short stylized as traditional Nenets art that followed a dramatic narrative and used an innovative technique of printing on thin celluloid. A 24-minute stop motion film The Adventures of the Little Chinese was directed same year by and could be considered a return to the traditions of Ladislas Starevich. Mikhail Tsekhanovsky's Post (1929, cutout/cel animation) was both a return to constructivism traditions and a big step forward: it was successfully exported and widely shown around the world, while in the USSR