this paper explores changes of the political, legal, taxation and other circumstances in film industries of Central and eastern europe that kick-started qualitative changes over the last decade. Research conducted by European Union (eU) on european film industry suggests that in terms of film industry Central and Eastern Europe region at this stage is generally non-competitive and not commercially orientated. We argue that the region filmmakers systematic believe in concept that film art and film business is a combination of polar opposites is a key reason that holds back industry's potential to make a considerable economical and cultural contribution to national prosperity.

No abstract

Comics are an indisputable part of popular culture. But compared to any other audiovisual media products, the production of this form of entertainment is relatively cheap. Thus, on this fact alone comic book artform could be used to fill the demand for local historical genre in popular culture and, in turn, to contribute significantly to the formation of a modern national identity among the youngest generations of the country. However, that is not the only or even the best superpower of the medium when it comes to production of fictional historical epics for entertainment purposes. In this article, the author explores comic medium’s creative aspects that could be used to effectively communicate the various visual aspects of the past. Findings suggest that the most important visual medium’s communicative tool that creates a unique and immersive experience is stylisation, in tandem with spatial and temporal systems. Additionally, the author discusses the challenges and opportunities for comic media to emerge in an educational context.

No abstract

No abstract