Chinanews Client Beijing, March 24th (Shangguan Yun) Watch online exhibitions, interact with museum commentators who have become "anchors" ... During the new crown pneumonia epidemic prevention and control, with the help of science and technology, people visit the museum Is changing.
The epidemic once closed the door of the museum, and also spawned a variety of "cloud brush museum" methods. Among them, the live broadcast of the museum was quite "out of the circle" and gained a large wave of fans. Now that many museums are gradually reopening, can museum live broadcasts be normalized? Will "cloud visit" bring new possibilities to museum development?
Opening cultural life: from offline to online
Previously, due to the need for epidemic prevention and control, cultural institutions in many places in China were temporarily closed. But many museums, art galleries, etc. open more digital resources for free to provide cultural services for everyone.
Photo Credit: Screenshot of the Qin Shihuang Emperor's Mausoleum Website
The Mausoleum of the Emperor Qin Shi Emperor's Mausoleum has launched a "digital display" section on the official website, which includes four sections: "Panorama Terracotta Warriors", "Pingtianxia Exhibition", "Four Seas One Virtual Display" and "Digital Museum".
The National Museum's official website has an "Online Exhibition Hall" section, which contains many excellent exhibitions such as "Datang Fenghua". In addition, a series of “Guobo invites you to watch the exhibition” on WeChat public account is introduced to introduce some culturally rich exhibitions or key exhibits.
The Shanghai Museum also released a big move to move the special exhibition of Dong Qichang's Calligraphy and Painting Art Exhibition of the 2019 annual exhibition online, and also "tailored" an interactive viewing mode.
Previously, according to the online exhibition resources of more than 100 museums and art galleries in the Beijing area compiled by the Beijing Municipal Bureau of Cultural Relics, viewers can watch online exhibitions at the entrances of platforms such as various institutions' websites and WeChat public accounts, or browse online with the help of panoramic virtual technology. Pavilion.
Museum live broadcasts are also available
During the epidemic, the museums seemed to suddenly find the treasure of "Live Broadcasting", each acting strangely. Visual effects and interactivity are the two main characteristics of live broadcast, and visual effects are both personalized and lifelike, which attracted a large number of audiences at once.
According to media reports, data show that previously, eight nationally renowned museums, including the National Museum of China and the Dunhuang Research Institute, jointly launched the "Cloud Spring Tour" through Taobao Live Broadcasting, which has attracted nearly 10 million people online.
The Gansu Provincial Museum continues to explore the live broadcast mode by expanding online content and other methods. Statistics show that the museum's two live online live streaming sessions lasting more than 900,000 people, more than 500,000 likes, and more than half of the museum's 2019 annual passenger traffic.
Data Map: The picture shows the interpreter Wang Xuelin of Gansu Provincial Museum is conducting live broadcast on Taobao. Photo courtesy of Gansu Provincial Museum
In addition to sucking powder, the museum's ability to carry goods live is also considerable. On March 1st, the Suzhou Museum started broadcasting on a platform live broadcast room, which was also the second time to start a live broadcast activity during the epidemic prevention and control. This live broadcast attracted a total of 1.25 million views and 330,000 viewers, an increase of 32% over the last live broadcast.
According to statistics, the two live broadcasts of the Suzhou Museum attracted a total of 1.93 million views and a total of 580,000 viewers, which is equivalent to the audience of the Suzhou Museum in the past three months. The turnover of cultural and creative products on that day doubled 4 times compared with the previous day.
Online content may be better
Whether it is live broadcast or online exhibition, no doubt it has brought a lot of social attention to the museum. But there are still some issues that need to be considered.
"For example, some online exhibitions are exhibition stocks that have been prepared earlier. The total amount is not many, and it is not so new." Wei Jun, professor of the Department of Cultural Relics and Museums at Fudan University, analyzed.
He said that, on the other hand, due to traditional thinking, most museums may have put more energy or focus on offline venue services before, so the content design of online exhibitions is not enough, and audience satisfaction may be discount.
From another perspective, moving exhibitions or museums online also requires related technical support. Wei Jun noticed that due to restrictions on production funding and manpower, some small and medium museums may not have so much energy to produce richer online exhibitions.
"The epidemic has promoted the popularity of 'cloud viewing exhibitions' and museums' live broadcasts, and also made museums think about: what kind of online exhibitions are more attractive? How is the viewing experience better?" Wei Jun said.
"Walk on two legs": museum development has more possibilities
With the better situation of epidemic prevention and control, cultural institutions in many places have reopened.
At the same time, many people are also thinking about whether the online mode of the previous "cloud brush museum" can complement the offline activities, which will bring more development possibilities to the museum after the epidemic is over.
Data map: The picture shows the explainer of the National Museum of China is performing live broadcast of "Cloud Spring Tour". Photo courtesy of the National Museum
The history of Gansu Provincial Museum deputy curator said previously that live broadcasting not only provides the public with a new way to "unlock" the museum, but also provides new ideas for the construction of cultural relics digital platforms.
"The influence of museums cannot be limited to the venues." Wei Jun suggested that on the basis of the existing museums, museums can consider various ways to increase the interactivity and knowledge of online activities, or cooperate with third-party social resources. Jointly developing digital exhibitions, "Online exhibitions attract audiences, and they can also feed offline and leverage museum IP development."
Wei Jun believes that if technical support and content display are further mature and mature, online exhibitions, lectures and live broadcasts will gradually become normal in the future. "In the future, you can 'walk on two legs' online and offline." (End )