Accelerate the development of new cultural enterprises, cultural formats, and cultural consumption models

  Plug in "digital wings" for the cultural industry (Online China)

  In recent years, the rapid development of Internet and other technologies has spawned a large number of new cultural formats and models, and promoted the creative transformation and innovative development of Chinese excellent traditional culture.

The "Recommendations of the Central Committee of the Communist Party of China on Formulating the Fourteenth Five-Year Plan for National Economic and Social Development and Long-Term Goals for 2035" clearly put forward the implementation of a digital strategy for the cultural industry, and accelerate the development of new cultural enterprises, cultural formats, and cultural consumption models.

  Online cultural activities are sought after

  "I didn't expect to be able to visit Mogao Grottoes without leaving home, and feel like I'm on the scene!" Xiao Wang, a travel enthusiast, told reporters.

What makes him so excited is a small program called "Traveling in Dunhuang". Through this small program, people can appreciate the charm of the grottoes in 360 degrees, perceive the historical and cultural connotation of the murals at close range, and easily realize the "cloud" with Mogao Grottoes. "meet.

"While enjoying the beauty of art, you can also learn a lot about cultural relic protection. It is a unique and unforgettable travel experience." Xiao Wang said.

  There are many others who have similar experiences with Xiao Wang.

In April this year, the Palace Museum conducted its first online live broadcast in 2020 in the 600-year-old Forbidden City.

Although it can't be there, the majority of netizens have expressed "feast for their eyes" after enjoying the Forbidden City. The total number of views of the live broadcast on the whole network exceeded 430 million in the two days.

  Whether it is the “cloud tourism” launched by Dunhuang Mogao Grottoes, the “cloud exhibition” opened by the Palace Museum, or the “cloud live broadcast” promoting intangible cultural heritage techniques everywhere, they are all epitome of the digital transformation of traditional cultural industries.

With the help of digital means, the silent cultural relics "live".

  The new crown pneumonia epidemic has brought a certain impact to the cultural industry, but it also provides new opportunities for its digital transformation.

During the epidemic prevention period, digital consumption was full of vitality, and online cultural activities were highly sought after, which also affected the film and television industry.

After "囧Mom" abandoned the theaters online, many movies chose to be shown on online video platforms.

In response, Fan Zhou, Dean of the School of Cultural Industry Management of Communication University of China, said that some of the original operating modes of the film and television industry have been rewritten and surpassed in the digital space.

  While the digitalization of the cultural industry is accelerating, new formats such as online video, online reading, audiobooks, digital music, and online games are also ushering in a bright moment.

Digital cultural products and services are getting closer and closer to people's lives.

  Advantages of implementing digital strategy

  The digital economy has become a new driving force for economic growth, creating favorable conditions for the development of cultural industries.

In August last year, China's first authoritative digital cultural industry report showed that the added value of China's digital cultural industry in 2017 was about 1.03 trillion to 1.19 trillion yuan, with a total output value of about 2.85 trillion to 3.26 trillion yuan.

  Industry insiders pointed out that digitalization is the general trend and an important driving force for the high-quality development of the cultural industry.

So, what are the advantages of implementing a digital strategy in the cultural industry?

  The huge scale of netizens constitutes a booming consumer market for the cultural industry and also lays a solid user base for the digitalization of the industry.

The 46th "Statistical Report on China's Internet Development Status" shows that as of June 2020, the number of Chinese Internet users has reached 940 million, and the Internet penetration rate has reached 67%.

  The relevant national policies send a clear signal to the whole society to encourage the development of the digital cultural industry.

In 2016, the digital creative industry was included in the national strategic emerging industry for the first time.

In 2017, the first national policy document for the development of the digital cultural industry, "Guiding Opinions on Promoting the Innovation and Development of the Digital Cultural Industry" was issued, proposing specific policy measures to promote the development of the digital cultural industry.

  New technologies such as artificial intelligence, big data, 5G, and VR are in the ascendant, promoting the intellectualization of the cultural industry.

At present, new models such as cloud classroom, cloud bundi, and cloud concert are emerging one after another, and people are eager for more interactive immersive experiences.

"Hand in hand" technology will undoubtedly profoundly affect content production and dissemination.

For example, based on massive consumption data and computational analysis, the platform can automatically push and update cultural content that people are interested in, saving search time.

  In addition, the improvement of the intellectual property protection environment and the gradual development of online users' payment habits will also help further release the potential of digital cultural consumption.

  Explore sustainable growth models

  The emergence and rise of the digital cultural industry has changed the original product format and has also affected people's cultural consumption habits and consumption choices.

  In Fan Zhou's view, online exhibitions, online concerts, and online travel cannot yet replace similar offline activities. Most of them are transitional programs under the epidemic.

He believes that the current technological means cannot completely restore the "sense of presence" in agglomeration cultural activities. People's cultural consumption habits have not yet been subverted and will gradually return to normal after the epidemic.

  “Many of the products of online projects are still in the exploratory period, and related operating models have not been formed. Cloud performances and exhibitions on the cloud are mostly a last resort.” Hu Na, Director of the Industrial Development Department of the China Cultural and Creative Industries Research Association, said frankly.

  In this regard, experts said that this just shows that there is still a lot of room for digital consumption in the cultural field.

Affected by the epidemic, accelerating the digital transformation of traditional cultural industries is a beneficial attempt and an inevitable requirement of the development of the times.

  However, the digitization process still faces many difficulties.

Hu Na believes that many digital cultural industry projects at this stage are mostly representatives of attention economy or flow economy.

"After the epidemic, how to face the wave of digital transformation in the new era, and how the digital creative economy can find a healthy and sustainable growth model based on the previous flow economy requires us to think."

  Experts pointed out that in the development of cultural industries, social benefits must be put first.

No matter how high the level of digitization is, how many new formats and models have been spawned, the function of meeting the diverse spiritual and cultural needs of the public will not change. High-quality cultural products and services based on creative innovation are still the key to the sustainable development of the industry.

  Reporter Shi Zhipeng