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This article is motivated by the specific and largely dissatisfactory state of the application of modern conceptions of local and regional development in post-transformation countries of Central and Eastern Europe. The same holds true for cultural industries, which became a buzzword and a sign of socioeco-nomically more successful places and regions. The main objective of this paper is to examine selected issues related to the application of cultural industries in Central and Eastern Europe. Conceptions cha-racterizing cultural industries have been born in advanced countries in the West. Subsequently, their applications consider standard Western economic-institutional milieu that evolved naturally and in the longer run. Nonetheless, history matters and economic-institutional settings in the countries of Central and Eastern Europe, for which numerous developmental discontinuities are symptomatic, are far from the Western ones. This raises many question marks on the applicability of cultural industries in specific and still-developing economic-institutional conditions in places and regions in Central and Eastern Eu-rope. The primary perspective adopted in this article is a theoretical one with a wide utilization of qua-litative approaches.

"How did communities come to terms with the collapse of communism? In order to guide the wider narrative, many former communist countries constructed museums dedicated to chronicling their experiences. Museums of Communism explores the complicated intersection of history, commemoration, and victimization made evident in these museums constructed after 1991. While contributors from a diverse range of fields explore various museums and include nearly 90 photographs, a common denominator emerges: rather than focusing on artifacts and historical documents, these museums often privilege memories and stories. In doing so, the museums shift attention from experiences of guilt or collaboration to narratives of shared victimization under communist rule. As editor Stephen M. Norris demonstrates, these museums are often problematic at best and revisionist at worst. From occupation museums in the Baltic States to memorial museums in Ukraine, former secret police prisons in Romania, and nostalgic museums of everyday life in Russia, the sites considered offer new ways of understanding the challenges of separating memory and myth"--