One of China’s most recent cases of successful cultural economics was the “12 Girls Bandâ€. It relies on a cultural background and ethnic preferences, or they more accurately enter the culture of a region, and succeeded in the Japanese market. The success of the 12 Girls Band "wall flowers wall outside incense" immediately became a model for Chinese imitation, and a group of women's folk music similar to the "12 Women's Squares" appeared in Guangzhou. "We also plan to sail across the ocean and fight for the Asian market." It is not bad to imitate successful cases, but we should see the deeper revelation brought about by the success of the “12 Girls Squareâ€, or even reflection, rather than “follow-up†without any consideration. Cultural and commercial success should not be the symbolization of this successful model, but ignore its essence and the laws behind it.
The success of the “12 Girls Band†in packaging is not merely a speculation in the visual arts. The Japanese market is largely in line with the Japanese aesthetic psychology. The most obvious feature of this mental expression is The worship of stars, costumes and bodies. Twelve young women, dressed in uniform and dressed in traditional musical instruments but in modern forms, are undoubtedly novel and attractive to the Japanese. The success of the “12 Girls Band†was precisely because the economic and business planners behind it identified the Japanese and Chinese culture as a single source of the same strain, and combined the Japanese visual department with Chinese folk music to create an elaborate culture. The result of the packaging.
From the great success of Japan's “12 Girls Band†pop art form, we can also deeply connect with the topic of Chinese folk music going global. Foreigners have always been interested in Chinese culture, but due to various obstacles in the exchange of East and West cultures for many years, foreigners’ understanding of Chinese culture is still incomplete. Moreover, in the past, the Chinese culture that we provided to foreign countries was mostly distorted or “marginalâ€. The atmosphere of politics or localization was too strong, and it further emphasized foreign misunderstandings of Chinese culture. The demonization of China by the West actually affects foreigners’ understanding of Chinese culture. Therefore, the Western people's first understanding of Chinese culture is sometimes not the culture itself, but a culture that has been given a certain meaning or color in advance. Packaging is the carrier of such a special prerequisite culture.
Many third-world cultures are often not merely the charm of culture when they enter the West. For example, the Western music market’s interest in and recognition of Zhu Zheqin’s “Sister Drum†stems from their curiosity about Tibet. The essence of culture is only a connecting point in such incidents. When the culture is finally implemented in the market and there is no way to affirm whether the cultural content itself will be accepted by the market, it is necessary to clarify the relationship between culture and economy and find the market. The demand and adapting to the economic market's foothold are properly positioned and packaged in an appropriate manner. If we take hold of this pattern, we will see the weight of the culture of nationality in the hearts of Westerners. When a culture is transplanted from the home country to a foreign business field, it must rely on a substance that can stimulate the market's interest in buying, thereby stimulating business behavior. "Twelve Girls Band" is based on this principle, so that the so-called "coincidence" achieves a stronger power than a purely dependent commercial promotion strategy.
Then, how can we make our national culture marketable? The case that “the 12 Girls Band†did not see much success in the country but it shines in the foreign domain reveals a problem: China is neglecting the modernization process. Your own tradition. The modernization of China over the past few decades has led us to gradually develop a new mentality of discarding the old. This is similar to Samuelson’s evaluation of American culture’s enthusiasm for high-tech cults. In addition to modernization in real life, China also consciously and consciously “modernization innovation†in ideology. The interest in ethnic cultures with local characteristics has become increasingly indifferent and gradually embarked on a path of losing tradition. In fact, this is the same flaw that all countries undergoing modernization have encountered. A scholar from India has been quite creative to put forward the idea of ​​“excessive modernity†and clicked out the lack of cultural significance in the economic society. One of the characteristics of modernization is to rely on business to speak. Traditional culture often has to find its place in society and business in the changing times. This will inevitably go through a process of being abandoned and destroyed, that is, the "historicity" put forward by relevant scholars. Abandoning the traditional pace of modernization is far faster than carrying the traditional modernization. In this way, a clear-cut divide has been artificially created between tradition and modernization. However, when culture is born into more and more commercial leaders, the cultural component of the culture becomes lighter and lighter. When the culture is reduced to a certain boundary, culture will be traced back to the tradition and recycled. And to add root or essential things, to provide the impetus for the next commercial transformation. This chain is the performance of the dual factors of culture and economy in the common development.
This happens to be precisely the close relationship between culture and economy that cultural economics has to elaborate. At any time, the combination of ethnic culture and business exists, but today we ignore it. Although today's modernization is somewhat over-extended, national culture is also exposed, but it is also not easy to become a true mainstream. After all, modern people's consumer psychology and cultural psychology have undergone profound changes since decades ago.
The culture of the farming era has its own original ecological development form. However, it is human-oriented. In the era of business, the birth and death of culture began to be based on commercial values. People are slaves to business or just a commodity consumer. Therefore, it is necessary to use commercial means to enhance the interest in cultural products. It truly makes people from the heart to accept a certain form of culture gradually faded away. Then there are many “powder†like “hype†or “beauty show†today. Kung fu is at the head. The packing and processing of the national culture is actually aimed at maximizing its attractiveness in the market. Perhaps the Japanese do not really love Chinese culture, but a layer of commercial bait smeared on twelve women caught their taste and interest.
In the era of planned economy, it is indeed of macroscopic significance to promote national culture in a planned way. In the era of market economy, it is far from enough to promote itself. On the contrary, it may lead to ethnic culture going into a “dead end†or ancient foodstuffs. Culture must use the market, the corresponding economic means, to survive better. It has been reported that Beijing Music Studies has all the thousands of hours of national music information, but guarding a golden eagle is relying on state funding to survive each year. The Taiwanese wave record company only bought the copyright of some materials and published the "Land and Song" series, and it has quite a market at home and abroad. In fact, the trend of the company's move, is to go in line with the concept of market-oriented packaging, Chen wine for a new bottle, can be transformed into economic benefits. "The more the nation is, the more it is in the world." It is not enough to shout the short slogans. If there is a lack of external practical operations and processing, it is extremely difficult for the "ethnic" to truly become "the world."
Not only that, it is not difficult for us to deduce the strategies that local films use local resources for packaging to seize the market in recent years. In 2004, the Shanghai International Film Festival successfully concluded. After joining the WTO, the speed of the introduction of foreign films is double every year. Faced with the huge investment, technology, gold, and scenes of Western commercial films, how can we ensure that domestic films can compete with the introduction of large films in the market and win? Read the "big hand", "hero", "mobile phone" and so on After the success of the previous example, it is not difficult to see from their common ground that the key to solving this problem lies in fully utilizing local cultural resources and combining them with necessary commercial packaging means to create a commercial film model with Chinese characteristics. After all, such cultural backgrounds and aesthetic tastes are the decisive factors that are difficult to replace with the introduction of large films.
Three Cultures Packaging and Packaging Culture
In fact, from the perspective of economic strategy and psychology, the purpose of packaging is nothing more than two: one is to make others have confidence in themselves; the other is to make themselves confident in themselves.
Hong Kong people not only pay attention to packaging, but also the packaging technology. The benefit it presents is that the entire community has a sense of civilization. Everyone reminds each other of each other: we have requirements, we are progressive, and we are formal and not casual.
Cultural goods themselves are a kind of cultural communication. This kind of communication full of cultural tastes should be reflected in the packaging. The cultural value of cultural packaging and packaging is now increasingly the subject of balanced weight. The packaging contains many connotations, which is a concentrated expression of overall experience. We should neither ignore the packaging of culture, nor should we simply understand the packaging of culture as the more investment, the more fancy and more selling. This will not only increase unnecessary costs, but will also cause cultural nuisance to suffer. Art is forward-looking, and taste is immediacy. A culture without any packaging does not have promotion, and flashy, sensational packaging will only reduce the intrinsic value of culture. The seemingly cultural and practically uncultured practices, both domestically and internationally, have already caused the rebellious psychology of the broad masses of consumer groups. Imagine being able to bring our culture into the “globalization†competition through such a low standard. hard.
Only the integration of cultural material and spiritual cultural values ​​can achieve the purpose of attracting consumers and strengthening the purchase of the group. Because cultural goods do not have excellent external image is also one of the important conditions that determine the quality of a product. It is not only a kind of cultural communication but also a carrier for disseminating cultural information. Thus, the positioning of culture becomes more and more important in this process. A product must be superior in price, must attract consumers with a unique shape, which includes both the product's own internal positioning, but also includes the product's external image of the product's anti-positioning. Only when the internal and external orientations are well coordinated, can a well-established cultural brand constructed by concerted efforts be able to win in the market, then it will be enough to influence the consumer's perception of culture. This relates to the future extension of cultural brands and even to the sustainable development of culture.
Therefore, a good cultural brand must work hard in terms of packaging design and cultural taste. From the initial idea to the successful launch, it should be carefully conceived so that the individualized charm of culture can be fully demonstrated, and the value of the culture itself can be given an impartial, notarized position. . Only in this way can the market open the door and consumers will accept it without any obstacles. Culture can be more vital.
The success of the “12 Girls Band†in packaging is not merely a speculation in the visual arts. The Japanese market is largely in line with the Japanese aesthetic psychology. The most obvious feature of this mental expression is The worship of stars, costumes and bodies. Twelve young women, dressed in uniform and dressed in traditional musical instruments but in modern forms, are undoubtedly novel and attractive to the Japanese. The success of the “12 Girls Band†was precisely because the economic and business planners behind it identified the Japanese and Chinese culture as a single source of the same strain, and combined the Japanese visual department with Chinese folk music to create an elaborate culture. The result of the packaging.
From the great success of Japan's “12 Girls Band†pop art form, we can also deeply connect with the topic of Chinese folk music going global. Foreigners have always been interested in Chinese culture, but due to various obstacles in the exchange of East and West cultures for many years, foreigners’ understanding of Chinese culture is still incomplete. Moreover, in the past, the Chinese culture that we provided to foreign countries was mostly distorted or “marginalâ€. The atmosphere of politics or localization was too strong, and it further emphasized foreign misunderstandings of Chinese culture. The demonization of China by the West actually affects foreigners’ understanding of Chinese culture. Therefore, the Western people's first understanding of Chinese culture is sometimes not the culture itself, but a culture that has been given a certain meaning or color in advance. Packaging is the carrier of such a special prerequisite culture.
Many third-world cultures are often not merely the charm of culture when they enter the West. For example, the Western music market’s interest in and recognition of Zhu Zheqin’s “Sister Drum†stems from their curiosity about Tibet. The essence of culture is only a connecting point in such incidents. When the culture is finally implemented in the market and there is no way to affirm whether the cultural content itself will be accepted by the market, it is necessary to clarify the relationship between culture and economy and find the market. The demand and adapting to the economic market's foothold are properly positioned and packaged in an appropriate manner. If we take hold of this pattern, we will see the weight of the culture of nationality in the hearts of Westerners. When a culture is transplanted from the home country to a foreign business field, it must rely on a substance that can stimulate the market's interest in buying, thereby stimulating business behavior. "Twelve Girls Band" is based on this principle, so that the so-called "coincidence" achieves a stronger power than a purely dependent commercial promotion strategy.
Then, how can we make our national culture marketable? The case that “the 12 Girls Band†did not see much success in the country but it shines in the foreign domain reveals a problem: China is neglecting the modernization process. Your own tradition. The modernization of China over the past few decades has led us to gradually develop a new mentality of discarding the old. This is similar to Samuelson’s evaluation of American culture’s enthusiasm for high-tech cults. In addition to modernization in real life, China also consciously and consciously “modernization innovation†in ideology. The interest in ethnic cultures with local characteristics has become increasingly indifferent and gradually embarked on a path of losing tradition. In fact, this is the same flaw that all countries undergoing modernization have encountered. A scholar from India has been quite creative to put forward the idea of ​​“excessive modernity†and clicked out the lack of cultural significance in the economic society. One of the characteristics of modernization is to rely on business to speak. Traditional culture often has to find its place in society and business in the changing times. This will inevitably go through a process of being abandoned and destroyed, that is, the "historicity" put forward by relevant scholars. Abandoning the traditional pace of modernization is far faster than carrying the traditional modernization. In this way, a clear-cut divide has been artificially created between tradition and modernization. However, when culture is born into more and more commercial leaders, the cultural component of the culture becomes lighter and lighter. When the culture is reduced to a certain boundary, culture will be traced back to the tradition and recycled. And to add root or essential things, to provide the impetus for the next commercial transformation. This chain is the performance of the dual factors of culture and economy in the common development.
This happens to be precisely the close relationship between culture and economy that cultural economics has to elaborate. At any time, the combination of ethnic culture and business exists, but today we ignore it. Although today's modernization is somewhat over-extended, national culture is also exposed, but it is also not easy to become a true mainstream. After all, modern people's consumer psychology and cultural psychology have undergone profound changes since decades ago.
The culture of the farming era has its own original ecological development form. However, it is human-oriented. In the era of business, the birth and death of culture began to be based on commercial values. People are slaves to business or just a commodity consumer. Therefore, it is necessary to use commercial means to enhance the interest in cultural products. It truly makes people from the heart to accept a certain form of culture gradually faded away. Then there are many “powder†like “hype†or “beauty show†today. Kung fu is at the head. The packing and processing of the national culture is actually aimed at maximizing its attractiveness in the market. Perhaps the Japanese do not really love Chinese culture, but a layer of commercial bait smeared on twelve women caught their taste and interest.
In the era of planned economy, it is indeed of macroscopic significance to promote national culture in a planned way. In the era of market economy, it is far from enough to promote itself. On the contrary, it may lead to ethnic culture going into a “dead end†or ancient foodstuffs. Culture must use the market, the corresponding economic means, to survive better. It has been reported that Beijing Music Studies has all the thousands of hours of national music information, but guarding a golden eagle is relying on state funding to survive each year. The Taiwanese wave record company only bought the copyright of some materials and published the "Land and Song" series, and it has quite a market at home and abroad. In fact, the trend of the company's move, is to go in line with the concept of market-oriented packaging, Chen wine for a new bottle, can be transformed into economic benefits. "The more the nation is, the more it is in the world." It is not enough to shout the short slogans. If there is a lack of external practical operations and processing, it is extremely difficult for the "ethnic" to truly become "the world."
Not only that, it is not difficult for us to deduce the strategies that local films use local resources for packaging to seize the market in recent years. In 2004, the Shanghai International Film Festival successfully concluded. After joining the WTO, the speed of the introduction of foreign films is double every year. Faced with the huge investment, technology, gold, and scenes of Western commercial films, how can we ensure that domestic films can compete with the introduction of large films in the market and win? Read the "big hand", "hero", "mobile phone" and so on After the success of the previous example, it is not difficult to see from their common ground that the key to solving this problem lies in fully utilizing local cultural resources and combining them with necessary commercial packaging means to create a commercial film model with Chinese characteristics. After all, such cultural backgrounds and aesthetic tastes are the decisive factors that are difficult to replace with the introduction of large films.
Three Cultures Packaging and Packaging Culture
In fact, from the perspective of economic strategy and psychology, the purpose of packaging is nothing more than two: one is to make others have confidence in themselves; the other is to make themselves confident in themselves.
Hong Kong people not only pay attention to packaging, but also the packaging technology. The benefit it presents is that the entire community has a sense of civilization. Everyone reminds each other of each other: we have requirements, we are progressive, and we are formal and not casual.
Cultural goods themselves are a kind of cultural communication. This kind of communication full of cultural tastes should be reflected in the packaging. The cultural value of cultural packaging and packaging is now increasingly the subject of balanced weight. The packaging contains many connotations, which is a concentrated expression of overall experience. We should neither ignore the packaging of culture, nor should we simply understand the packaging of culture as the more investment, the more fancy and more selling. This will not only increase unnecessary costs, but will also cause cultural nuisance to suffer. Art is forward-looking, and taste is immediacy. A culture without any packaging does not have promotion, and flashy, sensational packaging will only reduce the intrinsic value of culture. The seemingly cultural and practically uncultured practices, both domestically and internationally, have already caused the rebellious psychology of the broad masses of consumer groups. Imagine being able to bring our culture into the “globalization†competition through such a low standard. hard.
Only the integration of cultural material and spiritual cultural values ​​can achieve the purpose of attracting consumers and strengthening the purchase of the group. Because cultural goods do not have excellent external image is also one of the important conditions that determine the quality of a product. It is not only a kind of cultural communication but also a carrier for disseminating cultural information. Thus, the positioning of culture becomes more and more important in this process. A product must be superior in price, must attract consumers with a unique shape, which includes both the product's own internal positioning, but also includes the product's external image of the product's anti-positioning. Only when the internal and external orientations are well coordinated, can a well-established cultural brand constructed by concerted efforts be able to win in the market, then it will be enough to influence the consumer's perception of culture. This relates to the future extension of cultural brands and even to the sustainable development of culture.
Therefore, a good cultural brand must work hard in terms of packaging design and cultural taste. From the initial idea to the successful launch, it should be carefully conceived so that the individualized charm of culture can be fully demonstrated, and the value of the culture itself can be given an impartial, notarized position. . Only in this way can the market open the door and consumers will accept it without any obstacles. Culture can be more vital.
Li Jie, Department of Chinese, Fudan University
Source: Journal of Sichuan Normal University
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