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Original title: Immersive 8-hour live broadcast of 600 Years of the Forbidden City exhibition opens up new possibilities
Source: Beijing Commercial Daily
The highly anticipated 600-year-old super exhibit of the Forbidden City was finally unveiled on September 10. An 8-hour live broadcast of the Forbidden City allowed viewers to see the 600-year history of the Forbidden City.
“Traveling around the Forbidden City” is not really new. Under the influence of the epidemic, it has become an essential skill for all museums to use live broadcasts to display collections in front of the public. However, the mere current exhibitions can no longer meet the needs of the people. How to achieve “Deep Cloud Upstream” and create more possibilities, there is still room for further exploration.
More than 2 million people “roam”
At 6 a.m. on September 10, the sun has not yet fully risen and an 8-hour live broadcast has begun at the Palace Museum simultaneously with the official CCTV News Weibo. The public sees the sun gradually shining on the turret of the Palace Museum through the lens. , Yanchun Pavilion and other iconic buildings, waiting in line for sunrise in the Forbidden City.
A reporter for the Beijing Business Daily learned that this live event included “The Forbidden City Right Now”, “Talk about things you don’t know about the Hall of Supreme Harmony”, “Ningshou Palace Garden: The Land of Rejuvenation of Qianlong “and” Paintings and calligraphy with the theme of Su Shi in the Palace Museum. ” At the same time, the highly successful exhibition “Dan Chen Yonggu-The Six Hundred Years of Forbidden City Exhibition” will also let people see it through the “Cloud Exploration Exhibition”.
It is worth noting that compared to the “Cloud Rewarding Spring” live broadcast released by the Forbidden City in April this year, this live broadcast has also achieved new highlights in many respects. In addition to the additional length extension, the explanation also changed from “Cloud Rewarding Spring”. “Based on the complete explanation of the history of the Forbidden City by a single host and an expert, more than 10 experts and professionals in different fields explained together. Also, in terms of presentation form, this live broadcast also adds 1 hour and 40 minutes of filming content from the scene of the Forbidden City.
The co-presentation of multiple content made this live broadcast attract a lot of people to watch it. By the end of the live broadcast at 2:00 p.m. on September 10, the number of viewers on the official Weibo of the Palace Museum and CCTV News had reached almost 700,000 and more than 1.74 million, respectively, and more than 2 millions of people watched the broadcast live.
“Unlike my previous visit to the Forbidden City due to limited energy and inability to fully understand the history of architecture and cultural relics, this ‘Wandering’ allows me to appreciate the Forbidden City in more depth and detail, and understand more about the buildings like ‘Yanxi Palace and Ningshou Palace’ as well as the famous Su Dongpo etc. will be more objective when you visit the Forbidden City in the future, “said Ms. Shen, the audience.
Chen Shaofeng, deputy dean of the Peking University Institute of Cultural Industry, said the Forbidden City’s “wandering” method allows many people who cannot reach the site to understand the Forbidden City. Together with interpretation by authorized experts, the audience will have a richer understanding than the daily tours. Additionally, live streaming also allows more people to participate together. The audience can discuss with each other to increase the interactive experience while watching the live broadcast. At the same time, the live broadcast can also gather some fans through the platform and follow the platform to participate in others online or online in the future. Next activity.
Live streaming becomes an essential weapon for museums
Since February this year, due to the suspension of offline exhibitions, national museums have successively offered their debuts in live broadcast. Online channels such as Weibo, Kuaishou, Douyin, Baidu Live, and Taobao Live have become the museum’s exhibition platform for external display. The museum’s cultural and creative collections and products are connected with the public through explanations. Today, live streaming has become an essential skill for museums.
In addition to the single museum live broadcast, the museum is also launching multiple joint live broadcasts at this stage to achieve greater effects. Taking as an example the “First Week of Museums in the Cloud” held in May, the event brought together more than 100 important museums and art galleries in more than 30 cities in the country and abroad to bring more than 100 broadcasts in I live for 14 consecutive days. On September 6, the National Museum of China launched the “Online Relay of the World Museum Collection Exhibition.” Museums and art galleries from Argentina, Australia, Kazakhstan and other countries came together and their curators brought audiences to enjoy online. Collection.
As more and more live broadcasts are released and people enjoy more ‘cloud travel’, the drawbacks of museum live broadcasts have gradually emerged, such as homogenization of content, which has also led to different levels of audience feedback.
According to Wenbo enthusiast Mr. Zhong, each museum has its own unique temperament, but after “wandering” in more than 10 national museums in recent months, although the cultural relics of various provinces and cities are seen through the screen, but the content and format of live broadcasts are usually the same without showing the original personality and characteristics of the museum, and after watching some live broadcasts it is easy to lose interest in following.
Furthermore, the production and transmission standards of museums are also uneven. This also makes some museums recognized by people for their high definition images and rich content. At the same time, live broadcasts from other museums are seen more as a patchwork promotional film. Although it occupied the advantage of online channels, it did not achieve the desired effect. In this regard, Li Jie, a researcher at the Digital Cultural and Creative Industry Expert Group, believes that live broadcasting only allows museums to increase channels and play a supporting role. The main role is still content. If there are only channels with no content, resources are wasted.
Break the old logic of “show treasure”
It should be noted that, in the eyes of industry experts, museums are currently “roaming around,” but the standards are uneven. The continuing “evolution” of the Forbidden City way of live streaming is becoming a showcase for “Deep Cloud Upstream.” According to the “Interpretation of the Influence Index of China’s New Cultural and Tourism Media” that Liu Zhiming, Director of the Media Research Center of the Chinese Academy of Social Sciences, recently shared at the Service Fair, the Palace Museum is well ahead of scenic area government affairs.
“After a period of exploration and cultivation, the museum’s live broadcast also faces the problem of updating and iteration,” said Shen Wangshu, deputy director of the Capital Cultural Development Research Center of the Beijing Academy of Social Sciences, in a interview with a reporter for the Beijing Business Daily. You need to break the logic. “Like the ‘immersive’ live broadcast announced by the Forbidden City this time, for ‘cloud travel’ to increase in depth, it is necessary to make a fuss about the sense of substitution and multi-dimensional visualization. The broadcast technology Live must be guaranteed, and the content must guide viewers to spark the imagination. Through the creation of scenes, the viewer’s sense of substitution is enhanced, so that the inheritance is truly activated and becomes a new popular custom “.
Behind the leadership of the Forbidden City is Beijing’s emphasis on new canals. Live streaming has become one of Beijing’s important strategies to build a “city of museums” out of the epidemic. Chen Mingjie, director of the Beijing Municipal Office of Cultural Relics, once pointed out at the “Building the Museum City” conference, “Highlight cloud live streaming in the digital age, enabling viewers share content across time and space. “
It can be seen that, unlike the previous “Wandering” of the Forbidden City, the linking of exhibitions, lectures, restoration of cultural relics, cultural and creative promotion and other settings connects the 600-year-old exhibition of the Forbidden City in a broadcast on I live for 8 hours.
Speaking of how many new possibilities there are for museums in the “Deep Cloud Upstream”, many industry experts said that there is still a lot of white space for the live streaming potential of museums. “Live viewing of cultural relics is an imperative way of life. The Forbidden City is taking a path that many well-known museums are taking. This requires museums to fully extend their exhibition and research functions. A long industrial chain” said Wei Pengju, dean of the Institute of Cultural Economics at the Central University of Finance and Economics. Shen Wangshu also noted that “live broadcast is not about rushing through the crowd or running away. What people expect is the museum’s education service with a long-term mechanism. It adapts to people’s appreciation and consumption habits. Live streaming must be reserved for residents, and museums must be online as well. Form a complete supply and demand chain. “
Live broadcasting of museums is still in its infancy, and “museum-business cooperation” is a common mode. In the eyes of museum professionals, technical support, content exhibition, etc. need to cooperate with professional platforms to jointly build a complete and orderly live broadcast ecology of the museum; at the same time, avoiding pan-entertainment and coordinating public welfare, service, and commerciality are additional considerations as well. .
Beijing Business Daily Reporter Zheng Rui Hu Xiaoyu Yang Fei
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