In the 1960s the theme of modern history and revolution began to dominate, and comedy films also started to be made. Until the 1970s, Mongolian cinema was produced in accordance with official ideology. Nevertheless, the Mongolian government was able to develop new genres of art through the support of a highly talented workforce. During this period 58% of artists had received higher education. The film industry produced up to 5 feature films a year, about 70 groups of thematic documentaries, 24 groups of news stories, and translated about 20 foreign films into Mongolian.

A number of films of this period were based on the novels of Ts.Damdinsuren, which depicted life on either side of the 1921 People’s Revolution. Others included D.Chimed-Osor’s Rejected Woman and Nugel Buyan, B.Sumkhuu’s Lost in Birth and Inside, and R.Dorjpalam’s three-film adaptation of Ch.Lodoidamba’s famous novel cycle Tungalag Tamir. Director J.Buntar also made a series of films addressing traditional life in Mongolia. His collected films Garid Magnai, Tod Magnai and Tsets Magnai show the traditions and customs associated with the Mongolian three manly games: wrestling, horse racing and archery. Aside from focusing on adaptations of well-known novels and traditional rural practices, cinematography of this time also focused on making adaptions of children’s literature. R.Dorjpalam played a leading role in establishing children’s films as a distinct and popular genre of film in Mongolia. Important productions included Rural Joy, Sukhbold’s Speech, and Heavenly Beast. At the same time, international collaboration developed with film industries in other communist countries.

In 1961 R.Dorjpalam and G.Kolditz directed a color film Altan Urgoo based on Mongolian folk tales written by S.Erdene and K.Bortfeld, in collaboration with Defa Film Studio in the German Democratic Republic (East Germany).