During the 1920s, Soviet documentary and fiction films were financed by the State, and their fledgling directors, some barely out of their teens, converted their lives from theater, engineering, painting and journalism to the practice and theory of a revolutionary cinema devoted to showing the achievements and aspirations of the new Socialist society. Their problem was to captivate an enormous, culturally diverse, multi-lingual, semi-literate population in ways that would be emotionally compelling, yet ideologically clear. The proven ability of movies to achieve this difficult goal inspired Lenin's famous dictum, 'For us, cinema is the most important art, ' and their stunning innovations recharged world cinema. Editing, or montage, is the common organizational basis of these films and each of the filmmakers believed the arrangement of shots to be the foundation of film art. Dziga Vertov's Stride, Soviet! (1926), a documentary which transformed a State commission intending to show what the Soviet had done for Moscow into a highly experimental film about the state of Soviet society and contemporary life. The film has many scenes portraying machines, factory workers, automobiles, and poverty.
Correspondence, writings, reports, government documents, printed matter, and photographs, relating to life in Russia prior to the 1917 Revolution; the persecution of the Jews in Russia and their emigration to Germany, 1904-1906; Soviet financial and commercial policy, 1918-1925; the purchase of 600 locomotives by the Soviet government from Sweden, 1920; and the German socialist Karl Liebknecht.