Abstract
AbstractThe article deals with the stories of Pom-Pom, which appeared in Hungary from the beginning of the 1980s, initially in the media network of picture books and animated films. Since the 2010s, the characters have increasingly appeared in the public space of Budapest: first in the context of thematic playgrounds, then in the form of mini-sculptures, and finally street art murals. In terms of time, these events coincide on the one hand with the so-called critical threshold, that transition between communicative and cultural memory, and on the other hand they set in at a point in time initiated by the operational end as well as the incipient building decay of the renowned Pannónia film studios. The examples chosen solely according to the criterion of visibility in public space prove to be representations planned, supported and tolerated by the public authorities.
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