| Summary: | 碩士 === 靜宜大學 === 大眾傳播學系 === 104 === PILI Glove Puppetry is an indigenous, unique yet popular form of traditional art in Taiwan. Revolving around creativity, it not only promotes its intangible intellectual property with tangible digital audio-visual technology, but also symbolizes the vernacular culture of Taiwan. Owing its success to brand image, PILI Glove Puppetry epitomizes the cultural and creative industry. This thesis seeks to explicate the transformation of traditional art in response to the changes of Taiwan’s social context in different times, and thereby assesses the exchange value of traditional art in the age of mass production as well as its ambiguous dependence on culture and economy in the capitalist system. The successful development of PILI Glove Puppetry is characterized by its ingenious utilization of digital technology and the concomitant cultural innovation. Its image creation, brand marketing and management, large-scale performance, as well as the investment of its holding company are all firmly based on its innovative character of making good use of technology. Employing the analytical framework of cultural studies, this thesis not only puts an alternative interpretation on this specific case of traditional art in Taiwan, but also reflects critically on how the coincidental dialectic between the cultural and creative industry and digital technology attaches meanings to the interaction between contemporary culture and this new form of traditional art.
Based on the theories of cultural studies, this thesis deconstructs the underlying context of the dialectic between culture and economy. The argument of this thesis is then connected to the concept of cultural diamond via the circuit of culture. Since the contemporary cultural industry and its development are forced to convert from rigid conventions to disruptive innovation, this thesis decomposes and reconfigures the elements of the cultural diamond by carefully observing the development of PILI Glove Puppetry. On a more specific basis, digital technology is treated as the creator, brand marketing as the receiver, cultural creativity as the gatekeeper, artistic transformation as the cultural object, and transdisciplinary integration as the social world. By virtue of this cultural diamond, this thesis further collates the complex dynamism lurking amid cultural industry and creative economy, thereby identifying the innovative elements and the benefits brought by the transdisciplinary practice of PILI Glove Puppetry.
In the age of electronic commerce, horizontal strategic alliance has not only generated enormous capital output through competitive cooperation, but also stimulated fierce competition among numerous emerging players in the blue ocean. Those who advocate the cultural and creative industry even publicly claim that digital content has become a significant landmark in the development of Taiwanese society. The popularity and prevalence of mobile devices, along with the increased integration of different platforms and carriers, prompted PILI Glove Puppetry to notice and follow this irresistible digital trend, which ushered the cultural and creative industry into the era of “content takes command.”
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