Mongolia’s People’s Revolution took place in 1921, installing the second socialist government in the world. Bogd Khan was kept as the country’s nominal king, but when he died in 1924 a Mongolian People’s Republic (MPR) replaced the old monarchy. During this year the Central Committee of the governing Mongolian People’s Revolutionary Party (MPRP) passed a law to establish a new culture center in the capital city. Named after D. Sukhbaatar, the charismatic leader of the 1921 revolution, it contained departments dedicated to music, drama, and dance. It was also given the important mission of promoting and delivering film across Mongolia. At the same time Mongolian cinematography started to develop its own terminology. In the mid 1920s the old Chinese name for film, ‘Shadow Play’, was dropped and officially replaced with the modern ‘Movie’. The technical base of Mongolian cinema also developed during this period. In 1928 four mechanics from the Union of Soviet Socialist Republics (USSR) toured the Mongolian countryside using TOMP-4 equipment to show the silent film Kindergarten. The aim of their visit was to expose rural Mongolians to the art of cinema. In the same year G. Gendenjamts and D. Gampil trained alongside 12 other students to become the first Mongolian film mechanics. As a result of these developments, by 1931 there were 15 silent film-screening centers in central and rural areas of Mongolia. A screening fund was established to promote film to the public. And an agreement signed between the D. Sukhbaatar Center and the Soviet Vostokkino in 1930 provided for numerous contemporary Russian films to be shown in Mongolia. These included Sergei Eisenstein’s October: Ten Days That Shook the World (1927), Leonid Trauberg and Grigori Kozintsev’s Youth of Maxim (1935), and Efim Zigan’s We are from Kronstadt. Throughout this period cinema was seen as crucially important in motivating and educating the public, notably through its ability to promote the policies of the new socialist government. In 1932 the MPRP’s Central Committee recognized that “the film industry is a great weapon in the political education of the people”, whilst the Ministry of Foreign Affairs developed its own Cinematography Committee to foster international film collaboration.