|
|
The Transformation and Development of Cultural Memory Media in the Era of the Creative Economy |
CHE Da |
Division of Arts,Shenzhen University,Shenzhen, Guangdong, 518060 |
|
|
Abstract Cultural memory, as a dynamic construction that is intricately intertwined with media, society, and cultural situations, indicates the social dimension of human memory. The ways in which cultural memory are generated and constructed has been endowed with new contents and forms in the era of the creative economy. The Greimas matrix is skillfully applied in this field to analyze not only the mechanism of cultural memory construction but also the central role of media as the most active factor in constructing cultural memory. As cultural products transition from physical forms to digital dissemination, traditional cultural memory media represented by “rituals” and museums undergo digital transformation, while various forms of old media continue to provide a stable and authoritative foundation for cultural memory. New forms of media lead to the innovation of cultural communication. Creative industries, which express symbolic meaning and are commercial simultaneously, offer diverse storage methods for the reproduction of cultural resources. These approaches have renewed the paradigm of building cultural memory through the implications created by a more ubiquitous dissemination practice. The new media, which narrate official memory and popular memory in parallel, have a revolutionary influence on the storytelling approaches of cultural memory. Additionally, they constantly enrich the construction modes of cultural memory, providing a more popular and diverse space for expression, thereby promoting and enhancing highly interactive practices between official and social memory, as well as facilitating the formation of diverse interpretive perspectives. However, potential threats such as fake memory, information overload, digital divide, and digital ethics have emerged in the realm of cultural memory media, giving rise to new issues for further discussion.
|
Received: 20 September 2023
|
|
|
|
|
[1] (德)扬·阿斯曼.文化记忆——早期高级文化中的文字、回忆和政治身份[M].金寿福,黄晓晨译.北京:北京大学出版社,2015. [2] 王明珂. 华夏边缘——历史记忆与族群认同[M].台北:允晨文化实业股份有限公司,1997.418. [3] (德)扬·阿斯曼.集体记忆与文化身份[A].陶东风,周宪.文化研究(第11辑)[C].北京:社会科学文献出版社,2011. 4. [4] 燕海鸣. 集体记忆与文化记忆[J].中国图书评论,2009,(3):10-14. [5] 李娜. 集体记忆与城市公众历史[J].学术研究,2016,(4):118-178. [6] (法)莫里斯·哈布瓦赫.论集体记忆[M].毕然,郭金华译.上海:上海人民出版社,2002.335. [7] 燕海鸣.博物馆与集体记忆——知识、认同、话语[J].中国博物馆,2013,(3). [8] “全面数字化”解锁艺术的共享时代[EB/OL].https://yang-bo.cctv.com/2021/04/27/ARTIlasoNa7UQCtRfnnAft0n210427.shtml,2023-03-20. [9] 康澄.象征与文化记忆[J].外国文学,2008,(1). [10] (美)尼古拉·尼葛洛庞帝.计算不再只和计算机有关它决定我们的生存[J].信息经济与技术,1997,(5):44-45. [11] (美)曼纽尔·卡斯特.网络社会的崛起[M].夏铸九,王志弘等译.北京:社会科学文献出版社,2006.439. [12] UNESCO, World Bank. Cities, Culture, Creativity: Lev-eraging Culture and Creativity for Sustainable Urban Development and Inclusive Growth[EB/OL].https://unes-doc.unesco.org/ark:/48223/pf0000377427,2023-02-12. [13] 顾江. 文化产业经济学[M].南京:南京大学出版社,2007.36. [14] (美)约翰·费斯克.理解大众文化[M].王晓珏,宋伟杰译.北京:中央编译出版社,2001.26. [15] 刘建萍,王天娇.数字技术赋能传统文化创新发展探究[J].福建论坛(人文社会科学版),2022,(12):44-53. [16] 王蜜.文化记忆:兴起逻辑、基本维度和媒介制约[J].国外理论动态,2016,(6):8-17. |
|
|
|