This largely defined the Russian culture of the next millennium as the synthesis of Slavic and Byzantine cultures.
Russian is also applied as a means of coding and storage of universal knowledge—60-70% of all world information is published in the English and Russian languages.
New Russian folklore takes its roots in the pagan beliefs of ancient Slavs which is nowadays still represented in the Russian fairy tales.
There were two primary trends of folklore study during the decade: the formalist and Finnish schools.
Formalism focused on the artistic form of ancient byliny and faerie tales, specifically their use of distinctive structures and poetic devices.
Many Russian fairy tales and bylinas were adapted for animation films, or for feature movies by famous directors like Aleksandr Ptushko (Ilya Muromets, Sadko) and Aleksandr Rou (Morozko, Vasilisa the Beautiful).
Some Russian poets, including Pyotr Yershov and Leonid Filatov, created a number of well-known poetical interpretations of classical Russian fairy tales, and in some cases, like that of Alexander Pushkin, also created fully original fairy tale poems that became very popular.
In 1934, Maksim Gorky gave a speech to the Union of Soviet Writers arguing that folklore could, in fact, be consciously used to promote Communist values.
Apart from expounding on the artistic value of folklore, he stressed that traditional legends and fairy tales showed ideal, community-oriented characters, which exemplified the model Soviet citizen.
Once Joseph Stalin came to power and put his first five-year plan into motion in 1928, the Soviet government began to criticize and censor folklore studies.