From the split with China through the period immediately prior to the death of Enver Hoxha, Albanian cinema took on new challenges, embracing a far more diverse range of subject matter and reassessing its stock themes from new perspectives. The filmography published by the Albanian State Archive assigns all films produced between 1953 (The Great Warrior Skanderbeg) and 2003 to specific themes. These do not constitute a one-to-one correspondence inasmuch as an individual film may be assigned to several categories. While earlier Kinostudio productions focused primarily on Albanian history, in particular the partisan struggle, and the triumph of the socialist state, themes that had been on the periphery in the 1960s and 1970s came to the forefront in the 1980s. As this decade developed new trends, the number of films dealing with social themes and women's issues increased dramatically, as per the Albanian Film Archives. Several films are even categorized as thrillers, a genre for which the films of communist Albania were not especially known (Arkivi Qendror Sheteror i Filmit, 2004). This clearly marks a major shift in production focus. Alongside these themes, a large number of films are set in the 1980s. Hence, Albanian cinema was no longer primarily rooted in the past.