Croatian cultural worker Branko Matan prepared the monograph Eurokaz: 1987 – 2001, to mark the fifteenth anniversary of the festival of new theatre Eurokaz. It is a dynamic, not in the least occasional publication in which Matan presented an overview of the first 15 years of Eurokaz, a kind of hommage to the festival which was responsible for the introduction and promotion of new tendencies in Croatian theatre. In addition to Matan, who is the editor of the monograph, Gordana Vnuk wrote the introductory text and dramaturge Ivica Buljan wrote the text "Eurokaz, the Logic of the New Theatre." Fragments from the festival discussions on new theatre and postmodernism were also published, as well as interviews with the main protagonists of Eurokaz, and a rich bibliography of media reviews of Eurokaz. While writing the monograph, Matan consulted Gordana Vnuk and used the materials from her collection.

Punk culture in the GDR developed its own language, music and aesthetics. These constituted an open provocation to the existing system, fostering the notion of breaking with the conformity of everyday life under the regime of state socialism. In contrast to their role models in the UK who championed the slogan "no future", punks in the GDR feared "too much future", or the uniformity of prescribed and pre-determined life trajectories. 'Substitut', a privately run agency in Berlin, houses the most extensive archival collection relating to punk culture in the GDR. The archive grew out of 'Substitut's' numerous projects, including the 'production' of exhibitions and release of music compilations and publications.

Lucian Pintilie’s Reconstituirea (Re-enactment) was the only Romanian movie to be included among the few selected productions shown in a retrospective screening of the best films of the 1960s during the 52^ndBerlin International Festival in February 2002. The Berlin International Festival is one of the most important film festivals, held annually in West Berlin since 1951, and has the largest public attendance of any annual film festival. The retrospective of 1960s films placed Lucian Pintilie among the well-known directors of European cinema, with some of whom he shared the experience of having been banned by communist authorities. The inclusion of Reconstituirea in the film retrospective of 1960s was a tribute and an official acknowledgement of Pintilie’s artistic activity and in particular of this film, which is considered to be if not the best Romanian film at least “Romanian cinema’s unique dissident film.” The first international recognition of Reconstituirea had come a decade earlier, in 1992. On the occasion of its fortieth-anniversary showing at the Locarno Film Festival, the French magazine Positif included Pintilie’s production among the five most representative contemporary films (Nasta 2013, 89, 94–95). Based on a real event fictionalised by the journalist and writer Horia Pătrașcu, the film focuses on an act of juvenile delinquency (two young men got drunk one night and wounded a waiter in a tavern) which is to be re-enacted in order to educate the public on the dangers of consuming alcohol. Insisting on capturing as convincingly as possible the details of the event, the prosecutor of the case compels the two protagonists to fight in front of a camera. The scene ends with one of the young men being fatally injured by the other. Banned by the Romanian authorities in 1969, the film underlines the vulnerability of people living under a communist regime whose arbitrary and coercing power not only controls the destiny of individuals but also destroys their future (Batori 2018, 43-47).

The Fištrović Collection of the Fran Galović Library and Reading Room in Koprivnica contains about 1,300 historical, political, economic and cultural books in English, many of which are the only copies in Croatia. The books were used by a group of Croatian intellectuals in Chicago in the 1990s to address the American public and advocate for a democratic and independent Croatia, which can be considered a final act of resistance to the Yugoslav socialist regime. The authors of some of the books are also intellectuals from the former Yugoslav republics, and their work, published in English, is evidence of their dissent against the Yugoslav system of government.