In the latter half of 1940, students entering the arts were still encouraged to further their crafts and become members of the ever growing Gorawood community. Many of the students competed with one another in hopes of joining the Royal Film Society. Much to the chagrin of those that made it into the society, those that don’t were still brought into jobs for filmwork. Movies in Montenegro were also now given the opportunity to become “Certified Pieces” by the Royal Film Society. Certification entailed that a film is to be considered a national work of art and thus archived in a deep, climate controlled vault. These films, including the famous Battle of Kosovo, were used as examples for moviemakers the world over. It is an honor to be certified, and directors and producers from around the world flooded to Montenegro in hopes of being certified themselves. One of the biggest films released during this time period, Charlie Chaplin's "The Great Dictator", was released with help of Gorawood, as Hollywood was unsupportive of the film's political nature. The major worldwide success of the film would lead to United Artists entering a good relationship with Gorawood, becoming one of the first big American studios to work in the Montenegrin film industry. To attract sailors heading to/from the Suez canal before they met the free-trade ports of southern Europe, a series of expansions were made on the coastlines. Explicitly, the Government didn't allow for the creation of gambling centers, but instead a variety of resorts and movie theatres throughout the coastline of Montenegro. Many of these resorts end up “theming” themselves, and a couple successful resorts attempted to mimic the homeland of visiting sailors, which spiced things up for those at sea for a long, long time. Montenegrin industrial engineers, taking pages from the United States, began testing with specialized forms of asphalt, like that seen on American highways. Much of Montenegro’s roads were in desperate need of repair or upgrade, and the first people put to work on them were soldiers from the Montenegrin Army Corp of Engineers. These roads were given first military priority, and then civilian once their construction was over. Though the former was considered the “owners” of the road, the latter was usually the only ones seen on them.

In 1941, following the end of the Third Great War, deals were made with the Germans and Soviets. While the Germans gained the rights to produce the color television models domestically for two years in exchange for surplus supplies, the Russians gained the rights to produce the Bulldog TD and Gorawood would make a series of tourism-based films for the Russians in exchange for the rights to produce the AK-40 and the Federov Avtomat. The latter deal led to the production of two types of tourist films - films from the Montenegrin tourism industry focused on attracting the people of the Soviet Union to the Montenegrin coastline, and films to attract foreigners to come to the Soviet Union as tourists. Following the parliamentary election, a move towards television and radio was made. Up to this point, television and radio consisted of solely local radio and television stations. The areas that used to contain the tribes/clans of Old Montenegro, the Highlands, East Herzegovina and the Maritime had its own local TV station, leading to about a total of 52 stations broadcasting at the time. Radio was slightly less saturated, with about 8 stations in the country, the most well known being Radio Antivari, based on the hill of Volujica near Bar where the first first radio station in the Balkans and South-East Europe was established, with Antivari itself being founded around the end of the Second Great War. The government decided to finally recognize the rise of television and radio with the establishment of an official, government subsidized television and radio broadcasting network, aptly titled the Montenegrin Broadcasting Association (Asocijacija Radiodifuzije Crne Gore, or ARCG for short). The corporation, being owned by the government, promised that the government wouldn't interfere with their goal of providing public broadcasting to the entire country. Shortly after, Radio Crne Gore and Televizija Crne Gore were established. Radio i televizija Crne Gore, as the subsidiary was known, was based in Cetinje, on Mount Lovćen, and provided local and international news, locally made and imported shows, with the latter specially subtitled for local audiences. To deal with the oversaturation of local TV stations in the country, the government merges many of the stations together. Many stations closely bordering each other (such as the 10 stations down near Lake Skadar, for example) were all merged together, resulting in 14 local stations in total. The government guaranteed that no one working at the stations would lose their jobs, nor would any of their content be censored. They would just be merged to make the airwaves of the country more organized. This move would instead create a deficit of workers, enabling recent graduates from the various Montenegrin art schools to get a job. With Radio Crne Gore becoming more popular than Radio Antivari, which at this point had decreased to only being listened locally on the coast, about 7 more radio stations popped up, bringing the count to 15. The Montenegrin government also officially placed a state patent on the small vacuum tubes and Leptir-model camera invented in the country. Though some criticized the move as “nationalizing” and thus infuriating to any would-be fascist, the government assured that it was done in the best interests of Montenegrin intellectual property and would cut down on thievery/mimicry overseas.

The government continued to encourage the arts, and with the victory of the centrists, dozens of smaller “academies” were created to give children an after-school or weekend relief from everyday life, letting them express themselves through both visual and audible art. A new generation of artists was gently nurtured as both liberals and conservatives felt that they can express their feelings without being judged or threatened. While the government continued to do so, they also further their attempts in making tourism and general travel across the country easier. Funded by both the Montenegrin military and government, car companies from around the world competed for the creation of an “off-road” capable vehicle. A design was decided upon halfway through the competition, as the Model 9 All-Terrain Truck was created. The most shocking aspect of the M9ATT was its origin; Mitsubishi-Ford. The ATT, a fairly squat truck, boasted thick shock absorbers and specially designed tires that were able to grip muddy or rocky surfaces and haul the truck on extreme angles. Though it sucked fuel like nobody’s business, it was the first of its kind, and was dubbed the “Montenegrin Moto” by Mitsu-Ford marketers who attempted to sell the truck to consumers in the west. However, the first 1200 cars were produced for the Montenegrin government, warranty and all, and the Montenegrins got a small cut for every truck sold afterwards. Around the same time, in the tiny mountainside village of Ubli in the Cetinje opština, the Montenegrin government bought up a plot of land to begin the construction of Aerodrom Drum, or a small, comfortable airport with criss-crossing, winding access to major cities throughout Montenegro. Focusing on ease of access and fluidity of travel, the airport sacrifices what many would consider “luxury” items, such as cocktail bars, lounges, and the sort, but few could complain. The airport’s location made it a central point for those traveling across the Mediterranean or heading from east to west. The little village was itself renamed to Drum, after the airport. As fledgling airline companies believed that jets were the future of commercial travel, the Montenegrin government hoped to be the first to house intercontinental, and international, customers.

Tenija, despite its film-centricness, would overtime evolve to be one of the major cultural centers of the country, especially after some of Ljesevici was absorbed, leading to sights like Fort Trašte becoming part of the city and subsequently being protected. This led to the city's nickname, Filmska Palanka, being displaced by the nickname Trašte (after the fort and the bay), leading to it only referring to Pelikolanica. Seeing as Gorawood/Pelikona began to expand, especially with its de-facto capital of Tenija becoming bigger, it only made sense to continue forward with the establishment of an international film festival. The Trašte Film Festival, known locally as the "Traštni festival", was established as a result. Around the same time, as the country's film industry gained more and more acclaim around the world, one couldn't say the same for the rest of the arts, fine or applied, despite the government's pushing of all of them. This would change with the beginning of a new movement. It centered around the idea of helping the people "catch up to all the art it had missed/passed by", such as during the times of occupation or practical isolation (generally defined from 1496-1699 for the former, and 1699-1918 for the latter, though some extend it to 1936). Painting, mosaics, architecture, sculpturing, literature, music, theatre, dance, and more; essentially, both fine and applied arts that weren't getting attention outside of the country were part of the movement. Locally, the movement was known as the "Kotorski pokret" and those who joined in as "Cattaristi", as the movement originated in the Kotor Bay area. Internationally, the period that covered the duration of the movement would be called the Montenegrin Renaissance (Crnogorska renesanca), while the movement would be known as Neo-umetnost (umetnost being the Serbian word for art), with those in the movement called "Neo-umetnici" in plural, "Neo-umetnik" in singular. The theatre group in Tenija, who flourished as a result of the movement, named itself the Pontevedrin Group, after the Grand Duchy of Pontevedro in Franz Lehár's "The Merry Widow".