Significance Of Production And Social Action

This paper concerns the problem of cultural communication. The central question this article hope to answers is, as a cultural product, how "traditional culture" is to be shaped and mediated. This contains a series of questions:How to mobilize the community and to put on the traditional culture of praise? How the process itself affects the production of traditional cultural practices? The extent to which social groups has affected the reproduction of traditional culture? And is cultural autonomy of any expression in this process?To facilitate the discussion started, the paper will further specific object of study into the production and reception of Kun Opera. Select Kun Opera as a specific analysis mainly stems from the process of production and reception of Kun Opera is more clearly as a cultural movement. This process shows the impact of various forces, which is really rare in the traditional culture of the others, and is also different from any other dramatic form.At the theoretical level, the study of production and reception in the west point out the basic influence factors. However, differences between Eastern and Western cultures, such factors as the impact of variables on the final result may not be the same. We lack of the local case to support the answer. Thus the choice of the subject is the first innovation point of the study.The basic analytical framework is based on Wendy Griswold "cultural diamond" model and Victoria·D. Alexander's additional work. In this framework, the social world, creator, cultural object, receiver and the media as the unit of analysis of this article.In these five units, the specific concerns of cultural object that reflect the special emphasis on cultural autonomy. The traditional studies pay little attention on the problem of cultural autonomy and cultural significance. Therefore, in the current study of cultural production and reception, give the specific issue of cultural autonomy that is rare. It is the second innovation of this article.The first chapter begins by explaining how the reproduction of Kun Opera is possible in the contemporary society. This article view that the early days of cultural policy and the establishment of the production units, the demand of cultural diversity form the international community as well as the oral and intangible heritage of humanity protection policy, the traditional creative bring Kun Opera back. These three constructs the reproduction social context of Kun Opera.On this basis, chapterⅡspecify why Kun Opera must innovative the production, not just follow the traditional way. As a cultural problem, innovative production can not be invented; innovative production also needs the support of environmental resources. Innovative production is driven by three forces:The reality of the plight of contemporary Kun Opera; urban and cultural development of early 80s as well as the changes in taste with the audience; dual phenomenon of traditional vs. modern and the corresponding discussion.ChapterⅢfocuses on the ideology of the production process of Kun Opera, showing the relationship between power and production. This is a very big difference with western control of elements of cultural production. The management of the Government of Western society mainly with macro regulation and control, But in China, government exist specific production-oriented to the specific production of cultural products.ChapterⅣanalyses of the target audience as a market. The view is the traditional culture of this particular product is still at the stage of the establishment of consumer subjectivity. In fact, the main demands of consumers are not sensitive to creator. This is due to the form of production organization and the contemporary society gives special status to traditional culture. This chapter also shows the dominant ideology is always challenged from the outside, especially by the market.ChapterⅤspecific on news reports about the Kun Opera, the conclusion is the media as gatekeeper of the independent value judgments are not fully expressed, that is not enough to affect the orientation in the production of traditional culture.Through the above analysis, the last chapter analyzed how producers do their innovative work. The characters of production units, organizational structure and operational methods, market-oriented transformation of the requirements and Kun Opera as a masterpiece of the Oral and Intangible Heritage of Humanity, these factors determine the three orientations in the Kun Opera's innovative production:production oriented drama awards, production oriented youth and production oriented heritage.This process of analyses will touch on management thinking in cultural production units. In general, management theory is not a popular subject of such research. Research interests always focus on the consumption of cultural products. So the specific content of this study is the third innovation of the article.The conclusion is reflected in three aspects:The first is to answer the existence way of traditional culture in contemporary society. Secondly, the paper obtained through case studies of variables that the government-oriented, market, and cultural autonomy are the most decisive influence factors during the reproduction of traditional culture. These three elements played a decisive role in form of internal quality of traditional culture. Finally, summarize the phenomenon of knowledge production in the traditional culture.