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Comment by 文創 庫 yesterday


陳明發博士談纺織與時尚文創《寬鬆上衣緊身褲》


有一陣子,我和大兒子住在南肯辛頓。對面就是維多利亞愛伯特(V&A)博物館(下圖)、自然歷史博物館和科學博物館毗鄰。


三家博物館都聞名遐爾,我卻情有獨鐘,沒事只泡A;對文化創意有興趣,走進世上最大的時尚與設計珍藏處,一天是看不完的。人家經營了百多年,來自五湖四海、上下三千載的文物,待在一百四十五個展覽廳裏。一個雕花門框、一個瓷甕,細細欣賞,原來都是心醇的故事。


藝術建在學術上


在此,碰得上薇安魏斯伍德(Vivienne Westwood 下圖)。我的意思是,她的創作和身世。一位小學老師,怎麼在時裝界蛻身一轉,變成挑釁傳統的叛逆聖母,深深影響了1970年代的龐克搖滾(Punk Rock)大潮?

四十年的原創動能,花樣百出,她面不改色氣不喘。可對一般人來說,她玩的是驚世駭俗,處心積慮想嚇死人。譬如,讓女生穿上男性襯衫,寬鬆得似乎大了一二號;配的卻是肉色的緊身褲。讓人錯覺,這位姑娘怎麼光著兩條腿就走出來了;就像穿了男朋友的上衣走出浴室。

看清楚,褲檔倒是縫上了無花果圖形。使人想起,阿當和夏娃偷吃了禁果,就快被趕出伊甸園。有學問吧?薇安的藝術,可是建立在學術上,就像她本身說的:「回顧過去很重要,因為人們有品味,有卓越的理想。除非我們看一看往昔,否則這些事物不會出現。」


故事豐富工作體驗


薇安從被控傷風敗俗的邊緣人,成為二十世紀三大重要的女設計家之一。作品不僅張揚於伸展臺與精品屋,風靡全球,更被奉為藝術進駐到大英博物館等聖殿。她只上過一個學期的美術課,居然也當上一些大學的教授。

成功的奧秘?不妨從她本身的註解去想像:「我的激勵總是學院式的。」她對現狀的抗爭與不妥協,是從傳統中找到力量的。返回文化遺產,願意鐵棒磨成針,總能挖掘到動人的東西。例如格子呢、粗花呢與皇室服飾等,都是英國人所引以為榮的特色。換一個面貌,進入現代人的眼光,往往牽引了人們微妙的情感。欲望,以及說故事的趣味。

薇安魏斯伍德的商品傳奇,就像任何其他有力也有利的企業敘事,帶給我們娛樂、學習、圓夢、美感與轉化的珍貴體驗。革新力、轉變力、影響力、溝通力、說服力……,對領導人種種能耐的期望,歸根究底,都是敘事力;有能力創造並說好故事,豐富、蘇醒工作夥伴和消費者的感性。(下續)

Comment by 文創 庫 yesterday


企業舵手新召喚

(續上)今天,許多企業主都為人力資源問題苦惱,面對一個奇怪的現象:這廂是,大量的工作找不到適當的人做;那廂則有大量的失業人士,主要是大專生,找不到適當的工作。這不是一個新問題。返回管理學案例,早在四分之一個世紀前,管理學大師杜拉克就提出了警告,當經濟生產對知識的需求越來越高時,職位空缺和失業者也將越來越對不上口。換句話說,居於能力、期望與價值觀問題,失業人士可沒條件填補既有的空職。

舉個例子,電腦化、智能化的結果,使到資訊與文書處理,不再需要那麼多的中層行政人員,許多經理人因此丟了工作。另一方面,電腦化、智能化,又對經理人提出了新的職務:擁有足夠的技術文化素養,去帶領相關的技術員工。而那些失去原有工作的經理人,往往並沒法子滿足這新要求。


有了越來越精明能幹的電腦,再加上後來的互聯網工藝,企業湧現了種種的新可能,例如以最平價而有效的方式,投進電子商貿、企業資源規劃或再造工程。「想像力有多大,天空就有多高」的新景況,對企業同人產生了壓力:「創新,要不就死啦!」

有創造力的男女,成了這一波的寵兒。永遠先知先覺的杜拉克建議,想給企業找到適當人才,得將上門問工的人,看成是「顧客」,設法在工作內容上滿足他們; 「職業如同商品一樣,必須為特定的買主而設計,然後向他們宣傳和銷售。」

這是給公司僱員創造體驗的另一種說法。新的經濟演變階段,需要對口的技術文化素養。透過故事為公司注進喜悅、智慧;幫助同人實現自我,挖掘傳統的工作美德,轉換組織的命運,這是創新紀元對企業舵手的召喚。(2010年5月19日 南洋商报經濟版專欄)


福建惠安美女文創

朱千華《中國美女地圖》

張曉梅《中國美:中國首部美女標準粉皮書》

康 德·美和崇高

艾蓮·穿在身上的文化 融進圖文裏的傳統

彼得·梅爾《品味》往哪邊穿

怡保西装叙事·穿西裝漫步怡街頭

[德] 格羅塞《藝術的起源》

蘇芒·時尚江湖路

黃厚銘:風格、名牌、與符號消費

Comment by 文創 庫 on Sunday

文創産業智慧產權機制

1 施沛琳,2008,〈生活美學産業〉見夏學理《文化創意産業概論》台灣五南圖書,317-356頁

Comment by 文創 庫 on September 21, 2022 at 3:29pm

“丝绸之路”文化智库
/ 主席陳明發博士的话

“丝绸之路”文化智库是一家研究与推广单位,以南海文化運營為核心。配合“一带一路”10週年与大马立国60载一甲子的历史契机,集合有关特色社区文史与創生的探索、交流、分享与学习等功能,计划採取策略伙伴、网络平台、書刊出版、在線講座、線下分享与业者運營大會等形式,协助经营者、推动者在各自岗位/社区引入新理念与新技能,面向疫後重建的建设需求发挥影响力。(21.9.2022)


陈明发博士2016年受邀到中亚哈萨克斯坦阿拉木图,为该哈国文化首都一大学所举办的“一带一路”国际纪念会议开幕式作专题分享。三日会议后,个人在城里自由行了一天。其中一个景点便是“二十八烈士纪念公园”,纪念的英雄是在莫斯科抵抗纳粹德军壮烈牺牲的二十八名阿拉木图军人。这二十八名烈士的牺牲,关键地保存了莫斯科的安全。纪念碑上精致的浮雕让人感受战争的壮烈。 

公园林荫中有一座全世界第二高的木制建筑,兴建过程中奇迹地没使用一根钉子,它就是东正教升天主教座堂(Co-Cathedral of the Ascension of the Lord in Almaty)。哈萨克斯坦脱离苏联独立后重新开放为教堂,得到联合国教科文组织的古迹保护奖。教堂旁边是哈萨克民俗乐器博物馆。

Comment by 文創 庫 on September 21, 2022 at 1:31pm

Cindy Yeap·Harnessing the economic benefits of the creative content industry

MALAYSIA will be stepping up the promotion of its creative content industry as “one of the hard areas of economic growth”, Communications and Multimedia Minister Datuk Saifuddin Abdullah told participants at an online forum on Oct 26 to mark the country’s adoption of the United Nations International Year of Creative Economy for Sustainable Development 2021.

He revealed that he and Tourism, Arts and Culture Minister Datuk Seri Nancy Shukri had just co-chaired the National Creative Economy Council a fortnight ago and discussed funding issues for the creative industry and even having something like “a road [map] to the Oscars”. 


Presumably, he was using the Oscars merely as a symbol of the government’s desire to support the creation of more great Malaysian content for a global audience. After all, insiders familiar with awards politics say winning an Oscar has more to do with [the potentially very expensive affair of] selling the movie well to Academy voters in Hollywood rather than making an outstanding movie or supporting the idealistic souls in the creative arts.

Malaysian companies forging sustainability-driven practices 

For companies with sizeable environmental footprint, could financial incentives be offered in exchange for less emissions, consumption and waste?

It is also in line with the renewed hope of Asian content and narrative garnering greater acceptance among a global audience, after South Korean director Bong Joon-ho’s Parasite made history in February as the first non-English language film to win the Oscar for Best Picture. Parasite was also the first South Korean film to receive the Palme d’Or at the 2019 Cannes Film Festival.

 

Optimism aside, industry insiders say the win was decades in the making. Behind Parasite’s big win is 61-year-old Miky Lee Mie-kyung, vice-chair of Korean conglomerate CJ Group, who is seen as the “godmother” of South Korea’s film industry and credited with playing a crucial role in promoting the Hallyu (Korean cultural) wave. A regular consumer of South Korean exports may recognise the CJ brand of consumer goods as well as CJ E&M Co’s TV channels TVN, TVN Movies and OCN, and the annual Korean wave convention (KCON) that it has organised in Los Angeles and multiple locations across the globe since 2012. CJ’s bakery franchise Tous Les Jours shuttered its Malaysian outlets in 2017 and recently sold its 50% stake in home shopping venture CJ Wow Shop, to make it wholly-owned by Media Prima Bhd.

A granddaughter of Samsung Group founder Lee Byung-chul (Miky is cousin to Samsung Electronics heir apparent Lee Jae-yong), Miky was an early investor in DreamWorks SKG (whose founders include Steven Spielberg) in 1995. The US$300 million deal reportedly gave CJ the film studio’s Asian distribution rights as well as access for her Korean filmmakers to study under DreamWorks.

Industry stimulus 

In his opening address at the Creative Economy 2021 Forum held in early October in conjunction with Budget 2021, Finance Minister Tengku Zafrul Tengku Abdul Aziz cited the success of South Korea’s film and music industry in boosting tourism as well as the country’s exports of consumer goods and services. He said players in the creative arts scene “should not see themselves in isolation” but position themselves to become “substantial and sustainable contributors” to the nation’s economy and high-growth sectors like science and innovation. After all, part of what makes Apple or Samsung phones a worldwide success is their design. 

Comment by 文創 庫 on September 21, 2022 at 1:29pm

There’s certainly ample room to grow the industry’s contribution to Malaysia’s economic growth. As it is, the creative industry contributes around 2% of Malaysia GDP, makes up 0.2% of exports and employs about one million people, chief statistician Datuk Seri Mohd Uzir Mahidin told participants at the Creative Economy 2021 Forum. 

Noting that the promotion of the creative industry and entrepreneurs was mentioned in the 11th Malaysia Plan (2016 to 2020), Saifuddin said efforts to leverage the country’s rich cultural heritage in promoting sustainable development would continue to feature in the 12th Malaysia Plan to be tabled in January 2021. “We’re committed to building a better ecosystem … the models can be borrowed from countries like South Korea, the ideas are there ... it is about working together and getting things done, putting everyone on the same platform.”

It remains to be seen if the creative economy will feature prominently in Budget 2021, which is set to be tabled in parliament this Friday (Nov 6). To help the industry amid the Covid-19 pandemic, the government allocated RM225 million for the arts, culture, entertainment and events industry under the RM35 billion Penjana (Short-term Economic Recovery Plan) announced on June 5. That includes RM100 million in soft loans and RM30 million in grants under MyCreative Ventures and RM10 million under the Cultural Economy Development Agency (Cendana). 

In March, Singapore — which in 2002 introduced a Media 2021 blueprint to increase the sector’s GDP contribution and transform itself into a global media city — allocated another S$55 million in aid for the arts and culture sector in its supplementary budget to counter Covid-19. 

In July, South Korea pledged KRW156.9 billion (US$131 million) to support its arts sector, including KRW23.2 billion in grants for financially strapped artists and KRW31.9 billion in wage support for people in the performing arts such as theatre, musicals and classical concerts. South Korea’s Ministry of Culture, Sports and Tourism received KRW6.48 trillion (US$4.9 billion) in Budget 2019, with KRW1.1 trillion to be invested in the virtual reality content sector and KRW40 billion on a new VR content exhibition space in Seoul. Some KRW113 billion was allocated to content creators while KRW32.3 billion was earmarked to support local filmmakers, cartoonists and fashion designers looking to expand overseas, according to Korean news reports.

According to the Hyundai Research Institute (HRI), the annual economic impact from South Korean popular global idol group BTS alone was about US$5.6 billion as at June 2020 and is set to reach KRW56 trillion (US$49.8 billion) over 10 years from 2014 to 2023. BTS alone had helped sell over US$9 billion worth of clothing, cosmetics and food currently, says HRI, which in 2018 estimated that the boy band contributed some US$1.1 billion or 1.7% of total Korean consumer goods exports in 2017. Prior to the pandemic, local news reports had indicated around 1% boost each to the GDP for the cities of Seoul and Busan from just one BTS concert, owing to its army of global fans that are kept constantly engaged by a team of online professionals in different time zones. 

To be sure, the creative industries have not only become an increasingly important contributor to GDP growth but have proved to be transformative in terms of generating income, jobs and exports, United Nations resident coordinator Stefan Priesner said at the online forum, noting the tangible benefits of integrating the 2030 Agenda and Sustainable Development Goals related to the cultural and creative industries in national development plans and budgets.

Continue @ https://iconada.tv/photo/iconmoocs003

Comment by 文創 庫 on September 20, 2022 at 12:44pm

爲「漢麗寶公主」勤背書 林美芬轉戰舞台

幾乎每個舞台劇演員都有一個登上國家文化宮(Istana Budaya)的夢,去年,連國語都不太會説的林美芬卻演了5場《Takhta 3 Ratu》舞台劇中漢麗寶公主(Hang Li Poh)的角色。今年,她擠下蘇盈之主演2月13至21日演出的馬來舞台劇《Zombie La La La》,正式成爲本地華人圈第二人入主馬來舞台劇。

  • 2007年參加《我要做Model》入行後,你是如何接觸到舞台劇呢?

比賽之後,我參與了ntv7電視劇,如《時光電台》、《懼場》及《分身乏術》等作品的演出,可是當新人倍出,我的邀約就少了。這期間我試過轉到幕後,Astro的福建戲劇《家緣》就是我冩我公公的故事,也試過回家幫忙做了3年生意,但蘇盈之的一通電話,讓我再度回到了娛樂圈。

去年原是蘇盈之主演《Takhta 3 Ratu》舞台劇中漢麗寶公主的角色,但因爲檔期關係,她有5場戲沒辦法出演,所以推薦了我去面試。我的國語其實很差,面試的時候都説英語,導演都快看不 下去,但我真的很想得到這個角色,所以從下午拿到劇本開始一直背書,到晚上才面試,導演聽了,決定給我機會,我很感恩。

整個科系只有我一個華人,還是最老的一個,哈哈!不過其他同學都對我這個「kakak」很好。一開始,別人用一小時做好的功課,我要花4小時,一字 一字地翻譯和整理語法,但同學們都知道我的程度較差,平日也會借我重點筆記。我印象最深刻的是有一次考試,那一段類似古文的台詞我背了很久,在考試的時候還是忘了後半段!同學們幫我向老師求情,讓我有第二次重考的機會,可是我又在台詞的部分「卡住」,當時同學們在台下比手劃腳地給我貼士,真的讓我很感動!

籌備《Zombie La La La》時有何趣事?《Takhta 3 Ratu》開會時有五六十人,説話的速度又快,有時候我會聽不懂。可是時間很緊迫,不可能停下來解釋給我聽,幸好之後其他演員會解釋給我聽。這一次雖然我 的國語比之前好,但偶爾還是會跟不上。我記得有一次導演開玩笑説我是「sengkuang」,我以爲他是在吃沙爹要配料沙葛,引來哄堂大笑!後來他們告訴 我,是笑我糊裡糊塗、萌呆的意思。

  • 接下來的計劃?

在馬來舞台劇這一行漸漸被關注的初期,我的心情有點微妙,感覺像是被中文娛樂圈拋棄了,但蘇盈之跟我説「馬來領域其實是一塊寶地」,讓我改觀不少。 我中學畢業後曾想過專攻舞台劇,但父母認爲沒前途,所以不讓我繼續,之後我就只有在教會的舞台劇上演出,就此累積了一些小基礎。其實我沒想過接下來的發展 會是怎樣,我才剛入行舞台劇,有很多部分需要加強進修。現在因爲唸書住在學院的宿捨,所以拍戲的檔期很難安排,所以就順其自然吧!

  • 在馬來舞台劇的野心是什麼?

不能説野心,但我期望有一天我能冩、演另一版本的「漢麗寶公主」。在《Takhta 3 Ratu》中的漢麗寶公主,是一名從國外來到馬六甲,爲了獲得蘇丹的心而努力獻慇勤的人。而再更之前2004年左右,國家文化宮也有過一出漢麗寶公主的舞台劇,但那段冩的卻是漢麗寶公主對蘇丹不忠,出軌的故事。漢麗寶公主是故事裡華人的縮影,我爲這個角色做考究的時候,發現漢麗寶公主不過是個離鄉背井來到 大馬後,愛上蘇丹也愛上這片土地的女人,所以我希望有機會能改編這段歷史故事,去詮釋我心中的漢麗寶公主。

林美芬小檔案

生日日期:6月29日

身高∕體重:169公分/56公斤

出道:第一屆《我要做Model》

演出經歷:

2007-08年 電視遊戲節目《一擲千金》

2013年 《時光電台》

2014年 《懼場》、《分身乏術》

(2016年2月14日 詩華日報)

愛墾網:馬素麗故事

浪礁嶼的馬蘇麗是馬來西亞的潘金蓮? 

Comment by 文創 庫 on September 19, 2022 at 5:55pm

《山打根八號娼館》

阿崎婆自小被賣到南洋沙巴當雛雞,年邁回到日本。其口述歷史造就了山崎朋子的名著《山打根八號娼館》。靠著一位小學四年級的女孩,文盲的她一直和山崎朋子保持通信,女孩的稚拙的筆跡飽含童心,寫著老奶奶身邊大大小小的趣事。

Comment by 文創 庫 on September 19, 2022 at 12:39pm

What about the Oscars? 

CJ Entertainment is in charge of overseas sales and the marketing of The Garden of The Evening Mists, touted as Malaysia’s most well-funded film to date (said to be RM20 million), jointly produced by Astro Shaw and HBO Asia. Asked about Malaysia’s chances of securing an Oscar nomination with The Garden of The Evening Mists, Astro Malaysia Bhd group CEO Henry Tan would only say what is important is that the group continues to strive for excellence in content production. The movie received nine nominations (including for best film, best director and best screenplay, and best actress for Malaysian actress Angelica Lee) at the 56th Golden Horse Film Festival and won the award for Best Makeup and Costume Design.

Tan noted, though, that Taiwanese-American Oscar-winning film director and screenwriter Ang Lee said he “hopes to see more films like this” after watching the film in Taipei.

“Both the book and the film are high-quality works with a strong positive message. I do believe both the book and film will stand the test of time and leave a mark on both Malaysian literature and Malaysian cinema,” says Taiwanese Tom Lin Shu-Yu, who directed the film based on a screenplay by British screenwriter Richard Smith, adapted from Malaysian novelist Tan Twan Eng’s book.

 

Twan Eng reckons that the film is already a landmark for Malaysia “just based on the scale of the production alone”. “The cast and crew are highly talented and diverse, coming from all regions of the world. The production values are world-class. The film looks lush and gorgeous. It focuses on a turbulent period of our history, and Tom Lin has created a sensitive, nuanced, restrained film,” he tells The Edge. 


Why should policymakers pay attention to the rise in the Asian narrative on the global stage and how can they help people in the creative arts? 

“Artists need time to master their craft, and it’s important that policymakers protect the seedlings of creativity from global capitalism and consumerism. For example, Korea has policies protecting Korean Cinema by ordering that movie theatres play at least 50% local films in their theatres. If it was all up to the theatres, they would only play what sells most, but culturally and artistically, it may become hard for that nation to improve,” Lin tells The Edge, noting that education is also key in ensuring that youths are on the same page in terms of the value that the creative arts bring to the nation and society.

 

 “If we are to catch the attention of the West, we will need support from the entire country, and at the same time, the country itself needs to promote all the goods — whether it’s literature, cinema, food, music — that are local to the international scene. Like Parasite again, it’s getting the attention it has because it’s a good film, but also, because of how Koreans have risen their image in the hearts of minds of the West, and this takes an entire nation to achieve,” adds Lin. 

While one can argue that Parasite “may not be Boon Joon Ho’s strongest film”, Lin notes that “it has gotten him furthest into the mainstream in the west”. 

“If Parasite was made 10 to 15 years ago, it might not reach where it is now… this wouldn’t have been possible if not for the whole K-Pop culture getting into the West first,” Lin says. (The Edge Malaysia,November 10, 2020)

Comment by 文創 庫 on September 18, 2022 at 5:08pm

Boosting The Exports of Malaysia's Creative Content Through Partnership

MONDAY, JANUARY 23, 2017, KUALA LUMPUR: Malaysia External Trade Development Corporation (MATRADE) and China Intercontinental Communication Co.,Ltd (CICC) marked a momentous occasion today by signing a Memorandum of Understanding (MoU) to promote trade of creative contents between Malaysia and China. The MoU signing was witnessed by Minister II of International Trade and Industry (MITI) YB Dato' Seri Ong Ka Chuan.

MATRADE was represented by its Chief Executive Officer Dato' Dzulkifli Mahmud and CICC by its Vice President Mr. Jing Shuiqing.

The MoU aims to strengthen communication and cooperation between media organisations in China and Malaysia by leveraging on China's One Belt, One Road (OBOR) initiative. The MoU will see MATRADE and CICC working together to link industry players from both countries to embark on exchange of creative content (such as films, documentaries and television shows, among others) and business matching (through MATRADE's International Sourcing Programme) for the purpose of driving trade of creative contents for both nations. The collaboration will strengthen the existing professional ties between both countries and could also initiate the sharing of experience, knowledge and best practices with China.

According to Dato' Dzulkifli, the MoU is an important step forward for both parties to promote cultural exchange through each other's media channels. "This partnership will facilitate and coordinate the communications between media players of both countries. With this partnership, Malaysian media can rest assured that they have a partner in China to assist them in areas such as co-productions," he said.

The Malaysian government has identified creative content as one of the Entry Point Projects (EPP) under the Economic Transformation Programme to enhance capacity, capability and competency of the industry in producing world-class content and additionally making Malaysia a regional hub for digital content.

In the EPP, the creative content industry is expected to contribute RM3.04 billion to Gross National Income (GNI) and produce more than 10,000 jobs by year 2020. The industry is also targeted to have an annual growth rate of 20 percent.

In the latest figures recorded in 2015, creative content contributed RM9.55 billion and represents 6.4 percent of the total Gross Domestic Product (GDP). To date, Malaysia has exported RM6.8 billion worth of creative contents.

With China as one of Malaysia's biggest trading partners, the MoU sets to further strengthen China's and Malaysia's relationship by leveraging on the OBOR Initiative, which is a development strategy and framework of China's government to boost connectivity and cooperation between China and the rest of the world.

MATRADE as Malaysia's export promotion agency provides various export facilitation such as market intelligence, trade advisory, export promotion and capacity building programme for Malaysian companies. The agency, under MITI, has trade offices in Beijing (beijing@matrade.gov.my), Shanghai (shanghai@matrade.gov.my), Guangzhou (guangzhou@matrade.gov.my) and Chengdu (chengdu@matrade.gov.my) that functioned to help Malaysian companies penetrate into the China market. (Source: https://www.matrade.gov.my)

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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