博物馆旅游与文化创意体系交互发展研究

近年来博物馆旅游产业逐渐兴起,博物馆文化创意产业不断成熟,如何将博物馆旅游与文化创意产业相互融合逐渐成为了博物馆旅游的发展推动力。是一种息息相关的内在联系。因此重视博物馆的旅游资源的创新开发是非常必要,对博物馆旅游文化经营管理创新,对于实现博物馆旅游和文化创意产业相互融合以及共同发展都是非常有帮助的。     

文化创意在博物馆中的运用

当今时代,随着我国经济的快速发展,生活水平不断提高,人们已不再满足于物质生活,提高文化生活需求的呼声已越来越高。作为文化产业的重要部门,博物馆已逐渐强调其开放性与多样性,增加观众的参与和互动。将其与文化创意相融合已成为文化部门当下最主要的任务和挑战,从而使得博物馆对我国的发展起到更加多元化的社会作用。     

博物馆文化产品的创意开发

本文对文化产品创意开发进行了全面解读,认为博物馆依靠自身优势发展特色文化产业,开发文化产品,既是建设社会主义文化强国的历史使命,也是博物馆社会教育和文化服务功能延伸的需要。博物馆开发文化产品已不是可为可不为的事,而是应该做好的"份内事"。     

打造创意博物馆 建设创意石家庄

本文从"创意"概念出发,结合正在进行的河北博物馆新馆建设项目,分析探讨了如何以创意博物馆的建设推进石家庄市的城市文化建设,从而推动石家庄市文化形象的确立,建设独具特色的创意石家庄。     

东莞文化创意产业发展对策新探

目前,以创意为核心、以网络等新传播方式为主导的文化创意产业逐渐成为发展趋势,并成为文化艺术与经济全面结合的跨行业、跨部门的新型产业群,其对国民经济的发展和产业结构的调整,将发挥越来越重要的作用。东莞文化产业在结构、原创力和人才方面都存在着一些问题,影响了文化创意产业的有效发展。笔者认为,具体可以从提供机构保障、成立园区、打造品牌和人才建设四方面人手,解决东莞发展文化创意产业难题。     

乡村旅游与文化创意产业的融合发展研究

我国正处于经济转型的关键时期,乡村振兴战略正稳步有序地推进,如何快速推进社会转型并实现新农村建设是当前亟待解决的重要问题。已有实践证实,将乡村旅游与文化创意产业深度融合是构建现代化新农村的重要出路,也是提升农村经济效益的有效途径。鉴于此,本文将就如何推进乡村旅游与文化创意产业融合发展提出相关建议,以供参考。     

我国文化创意产业概念的内涵与外延

文化创意产业的内涵是：依靠个人的知识、技能、天赋,通过科技和艺术手段,对文化资源进行创造、重构、嫁接和提升并与其它产业融合生产出具有文化艺术元素的高附加值的产品与服务,以满足人类感性需要和理性精神需求的产业。根据我国实际,我国文化创意产业的外延范围共包括：与文化事业相对应的文化产业、设计产业、体验产业和旅游业。     

我国文化创意产业概念的内涵与外延

文化创意产业的内涵是:依靠个人的知识、技能、天赋,通过科技和艺术手段,对文化资源进行创造、重构、嫁接和提升并与其它产业融合生产出具有文化艺术元素的高附加值的产品与服务,以满足人类感性需要和理性精神需求的产业。根据我国实际,我国文化创意产业的外延范围共包括:与文化事业相对应的文化产业、设计产业、体验产业和旅游业。     

大熊猫文化创意产业与大熊猫栖息地的保护和发展

大熊猫栖息地区一直在寻求保护生态环境和发展区域经济相协调的道路,文化创意产业作为一种新型产业,其发展速度超过传统的工业、农业,并且在优化区域产业结构上有着重大的作用。大熊猫栖息地区孕育了丰富多彩的大熊猫文化,四川大熊猫栖息地成为世界自然遗产,为四川省发展大熊猫文化创意产业提供了难得的契机。立足大熊猫文化内涵,从文化创意产业发展可行性分析,本文提出"创建大熊猫文化创意产业集聚区,构建大熊猫文化旅游园区,进一步开发大熊猫形象手工艺品"的设想,为发展四川省大熊猫文化创意产业及缓解大熊猫栖息地区保护和发展的矛盾提供参考。     

关于博物馆文化衍生产品开发的认识与思考

文化衍生产品的开发工作是博物馆文化产业体系中的核心环节,目前在我国尚处于起步阶段,其理念、体制、资金、政策、模式等均有待思考与探索。只有根据我国博物馆的具体实情,借鉴国外博物馆的成功经验及运作模式,革新理念,遵循正确的开发原则,掌握科学的开发方法,才能形成品种齐全、种类多样、特色鲜明、优势突出、富有竞争力的博物馆文化衍生产品体系。     

博物馆经典藏品资源的文创产品开发——以曾侯乙编钟文创系列产品的开发为例

对博物馆经典藏品进行复制,或者萃取其文化元素开发衍生产品,一直为博物馆所重视。这类复制品从传播效应、经济效应、市场价值、文化价值和创意内涵诸方面都体现出"文创产品"的性质,应该纳入"文创产品"市场予以定位、规划。湖北省博物馆对馆藏经典藏品曾侯乙编钟开发了七大类百余个品种的文创系列产品,它们既体现了藏品原型的价值和精髓,也具有保护、研究和实用价值。目前我国博物馆文创事业还需要在经典藏品资源的研究、市场研发人才的培养、衍生品系列的完善、跨界同质资源的整合以及复制品制作单位资质的把控等方面加大推进的步伐。     

关于发展行业博物馆必要性及意义的思考

行业博物馆怍为一种新兴的博物馆类型正逐渐引起越来越多的关注，本试从行业化、博物馆自身及都市化产业运作三个角度，对发展行业博物馆的意义和现实必要性做一剖析。     

故宫博物院信息电子化四讲

本文是作者四年间就故宫信息电子化有关专题的四次讲话,它从一个特殊的侧面展现出故宫博物院在这一文博新兴领域的建设总体思路和推进发展轨迹。其一论述了信息电子化在故宫全局工作和改革进程中的战略意义以及网站建设的原则;其二回顾了故宫信息电子化的总体思路和起步策略,小结了信息电子化基础建设的阶段性成果;其三总结了故宫信息电子化总体思路中大视角、高起点的三个与众不同的特点,指明了“数字故宫”的前景;其四以文物流通管理系统为例,再次论证了信息电子化对有效保护、合理利用、严格管理和队伍素质提高的重要意义,指出这项工作在故宫已进入了不可逆转的历史新阶段。     

Museums in revolution: changing national narratives in revolutionary Cuba between 1959 and 1990

This paper explores the function and role of museums in revolutionary Cuba between 1959 and 1990. Drawing on a variety of hitherto unexplored archives and interviews with bureaucrats of the Cuban heritage field, the paper argues that there is a close relation between museum production, the prevailing narration of nation, internal power struggles within the regime and the changing relation with the USSR. Museums were considered primary tools for historical production and politico-ideological socialisation. These were two fundamental issues for communist regimes, concerned with fixing cultural identity and affirming historical continuity. The paper focuses on the case of the Museum of the Revolution to argue that Cuban museums changed in conjunction with the increasing crypto-colonial relations of subordination to the USSR. In the first, humanist and Universalist phase, museums served to expand culture and spread a nationalist-revolutionary narrative of nation. The second period after 1975 witnessed the institutionalisation and Sovietisation of Cuban museums. This involved their transformation into a device to instil a nationwide homogeneous class-based Marxist–Leninist narrative adapted to Cuba from the Soviet model. This ideological closure of museum production contributed to the ideological and identity-building objectives of the regime.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

Cultural democracy: an ecological and capabilities approach

ABSTRACT

In recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of ‘excellence and access’ and the neoliberal logic of ‘creative industries’. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying ‘cultural democracy’ as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice.     

Making creative industries policy in the real world: differing configurations of the culture-market-state nexus in the UK and South Korea

ABSTRACT

This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as ‘industrial policies’, it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state’s management of cultural turn in the economy, both cases seem to present a ‘paradox’. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK’s creative industries policy engenders some space for ‘cultural’ policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification.     

20世纪河南博物馆产生与发展概述

本文重点从博物馆机构的建立、文物标本的收藏、陈列展览的举办与开放、科学研究等几个方面,概述了 ２０世纪河南博物馆事业产生、发展、壮大的历史过程,以期河南各类博物馆在新的世纪中,为社会做出更大的贡献。