A Study On The Communication's Cognition Of The Intangible Cultural Heritage In The New Media Form

Intangible cultural heritage formed since agricultural society.It has been the important content of the life and production of village and town in the traditional period.It is a very active part of regional culture and economic ecology.All the time,intangible cultural heritage is generally manifested as productive process arts,consumer performing arts and living folk art("three arts"),which is presented as consumption clustering,cultural ecology and technical industrialization("three manifestations").Nowadays industrialization and urbanization have resulted in massive outflow of rural population.The outflow and fracture of production chain and consumption chain are very serious.A considerable amount of intangible cultural heritage has been inherited by only a small number of middle-aged craftsmen,which is presented as "lonely islands" distributed sporadically.Having been separated from the above "three arts"and "three manifestations" ecology,it means that in many cases the traditional intangible cultural heritage is almost gone.The "island effect" can easily lead to the separation of intangible cultural heritage and new culture,industry and consumption ecology.In the era of digital earth,audiences are increasingly inclined to acquire knowledge and information quickly and fragmentally.Audiences have low identification about recessive communication mode of traditional intangible cultural heritage.Intangible cultural heritage stays "living" and "invisible" state,which is necessary to live and spread in social groups or circles to express its own value.Therefore,audiences'identification of the transmission path of intangible cultural heritage in forms of new media is the research question discussed in this paper.The research logic of this paper can be expressed as:First,according to the definitions of new media concepts,definitions of new media forms and development process,it is hope to be able to as clearly as possible describe the literature of intangible cultural heritage transmission path under.the application of the concepts of intangible cultural heritage,new media,the use and satisfy theory,technology acceptance model and other related research.Besides,the literature and development trend of domestic and foreign research are summarized and refined.Second,based on the "use and satisfaction theory" and "technology acceptance model",the author designs the first grade,secondary and third grade indicators of new media transmission path of intangible cultural heritage.Then the indicator frame is built.The third step is to conduct investigation among inheriting and general audiences of intangible cultural heritage respectively.The data are calculated based on the two methods of AHP and entropy method.Results are got by calculating the evaluation factor weight of each indicators(first grade,secondary,and tertiary indicators)transmission path of intangible cultural heritage in forms of new media.In the fourth step,the author chooses handmade paper as a vertical analysis case as the representative pattern of intangible cultural heritage.Then the author describes the current situation of communication and the transmission path of handmade paper in the form of new media.Fifth,the author takes handmade paper as a case study.An empirical study on the audience transmission identification of handmade paper museum was conducted and worked as in-depth analytical development.The specific research steps are:first,transmission path of handmade paper in forms of new media is investigated.Transmission path identification model of handmade paper in new media is built.Second,data are collected from the principles and audiences of 28 Handmade Paper Museum(museums are in Austria,Belgium,Czech Republic,Germany,France,Italy,Netherlands,Sweden,Switzerland,Spain,Hungary and the United Kingdom,United States,Japan,China Mainland and Taiwan)by questionnaire survey.Then,according to the status quo of the museum and the number of questionnaires in each country,each index of questionnaire is assigned respectively based on weighed score of the model which is obtained from the fourth chapter.Fourth,the author examines and corrects the hypotheses by analyzing the three main fanatical methods,such as descriptive statistical analysis of sample data,reliability and validity analysis and structural equation model analysis(confirmatory factor analysis and structural equation analysis).Fifth,the author evaluates the path parameters of the first grade indicators(using,identification)and secondary indicators(using habits,using behavior,perceived usefulness,perceived ease of use,satisfaction and dependence).Sixth,based on two first grade indicators of "using and identification" and the six secondary indicators of "using habits","using behavior","perceived usefulness","perceived ease of use","satisfaction" and "dependence",identification in transmission path of handmade paper in forms of new media is investigated.The results show that the first grade and secondary indicators all have positive correlation to audience recognition degree.The basic conclusion is:using habits of handmade paper in the new media transmission path has a positive correlation with audience identification;using behavior of handmade paper in the new media transmission path has a positive correlation with audience identification;perceived usefulness of handmade paper has a positive correlation with audience identification;and perceived ease of use of handmade paper has a positive correlation with audience identification;the satisfaction of handmade paper has a positive correlation with audience identification;the dependence of handmade paper has a positive correlation with audience identification.Simultaneously,the secondary also have a certain positive correlation indicators to the country/region of the audience identification.The results show that:the audience attaches great importance to whether the media transmission mode of intangible cultural heritage like handmade paper can correspond with their own needs and interests.Audiences can be in these new media transmission path to obtain visual impression,visual,auditory and other aspects of the experience,especially the recent participatory production model to give the audience such as handmade paper and other hidden cultural elements of expectations and recognition.At the same time,country/region indicators are sorted as:(Japan)>(UK)>(France,Germany)>(Mainland China)>(Netherlands,Sweden)>(Belgium,Czech Republic,Italy)>(Austria,Hungary,Spain).Therefore,in the survey sample,the Japanese handmade paper museum audience identification factors are the highest.Austria,Hungary,Spain,these three countries handmade paper museum audience identification factors are the lowest.It may be due to that Japan has a long history of protecting handmade paper.Audiences have developed a certain relationship between protection and affinity to intangible cultural heritage.Finally,the author summarizes the status quo,the problems and the corresponding countermeasures and improved(optimized)suggestions,which are reflected in the case of intangible cultural heritage as a case.