Central and Eastern European cultural policies, media reform and development of media markets in the mid-nineties
Title:
Central and Eastern European cultural policies, media reform and development of media markets in the mid-nineties
Author:
Jung, Bohdan Moleda-Zdziech, Malgorzata
Appeared in:
Leisure studies
Paging:
Volume 17 (1998) nr. 2 pages 69-93
Year:
1998-04-01
Contents:
In many ways the media has become (together with tourism) the most important and dynamic element of leisure in Central and Eastern Europe (CEE). The role of most traditional and all modern media has been greatly strengthened in the region after 1989/90, after the political and symbolic influence of the 'fourth power' in the region's reforms had been widely recognized. The expansion and (post)modernization of the media in CEE countries is taking part at a time when the position of traditional cultural institutions and activities in the regions is being seriously undermined. Following the changes made in 1989/90 to political and economic systems of the CEE countries, a breath of extreme liberalism swept through the region. At the critical initial stage of transition culture in the CEE, countries had to face an assault from two flanks. Severe curtailment of state commitment (both financial and ideological) coincided with a wide opening to the West and absorption of imported culture. Despite generally negative feelings about cultural policy, neither of the countries in question abandoned this realm nor scrapped its cultural administration, but their priorities shifted from aesthetic or ideological considerations to the management and financing of the cultural sphere. While governments still cherish visions of reformed cultural and media policy, the commercial media sector develops successfully throughout the region with minimum amount of regulation. The successful development of the media in Central and Eastern Europe shows not only high growth potential of new markets, but also produces interesting evidence on the co-existence of the state or public providers with new commercial operators. It also shows the difficult balancing act in which domestic cultural industries attempt to introduce legislation to protect local cultural production and curtail international competition, while keeping the domestic market open enough to attract foriegn investment.
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