五年前買了這本書，是一本捷克在08-09年舉辦一個捷克同波蘭的電影海報展覽圖集。眾所周知，波蘭的電影海報世界知名，然而其實捷克都曾經輝煌。這本書介紹兩地海報設計歷史同發展，把兩地同一電影但設計唔同的海報並排（左捷克右波蘭）進行比較，看到兩大設計巨頭在設計上的分別。
這本書很難找，花了我許多時間。首先找過各大網上書店，但都無功而回。後來我直接聯絡出版商（Terry Posters, 捷克出版社），他們也無存貨，不過卻找了兩間捷克小書店的網址給我。我再問了那兩家店，終在其中一家找到那本書。
小店負責人電郵我商討付款方法，但因他們沒有paypal，要直接匯款。我問過數間銀行，又上網查看過，弄了一週才找到方法從香港匯款到捷克。結果又花多數星期，書才到手。
從書中抄了Intro 數小段 (這本書是捷克語／波蘭語／英語三語對照）, 可了解多少少兩地海報發展:
//Let's mention a few widely known facts. Polish posters are, as opposed to the Czechoslovak posters, more pictorial. Polish graphic designers used collage, photo collage, montage, plucking of paper or unique author typorgraphy to a much lesser extent than Czechoslovak artists. The core of their posters lied in their perfectly mastered painting itself. Also, letters on posters are often written by hand (Franciszek Starowieyski, Jerzy Flisak), unlike famous examples of an imaginative typography and playing with letters in the Czechoslovak poster (Zdenek Ziegler, Zdenek Kaplan, Karel Vaca, Milan Grygar). //
//The czechoslovak film poster in the early 1960s when it was dynamically shaping into its form absorbed modern art styles like Czech infomral, abstraction, op art, pop art or others, more than the poster art in Poland. Many Czechoslovak Posters use a play with letters, cutouts, plucking and often a very wild and daring combination of techniques. It is quite an interesting fact that among Czechoslovak graphic designers there were more "non-painters" than in Poland.//
//After the fall of the Iron Curtain in 1989, Pollish and Czechoslovak graphic design posters found themselves in a much worse situation. [...] Producers of foerign films which started to flood Czechoslovak and Polish cinemas supplied the filmes with commercial material typical for the West and the USA with a governing elements of photography - a portrait of an actor in the centre of a poster. The Producers also included a new condition into their contracts - taht posters printed in Ploand and in Czechoslovakia must look just like the original photography, commercial promotion materials which were the same all over the world. The possibilitiy of creating new graphic design posters was, in fact, eliminated. However, the situation in both countries may differ today. Twenty years after the change of conditions, the balance is clear and evertyhing points to Poland as the country in a more favorable situation. One might want to say - and it would not be too far fetched - that the Polish poster, unlike the Czech poster, has managed to survive.//
P.S. 這是那家捷克小店的網址：
http://levnyantikvariat.cz/czech/index.php
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