Page 153 - Arts Innovation Report_2022_May11

Preface
前 言

CH. 1
成立於 2020 年的藝術科技專責小組，本應制訂並發 The Arts Tech Task Force effective as of 2020 was supposed to 第一章
be accountable for devising an Arts Tech strategy that includes
布推廣藝術科技的策略和措施，然而至今仍未公布進
a manpower plan, but no concrete plans have been announced
一步的細節。 CH. 2
up till today. 第二章
重要的是，政府需制定並實施文創產業的未來人才策
It is of utmost importance that a government-initiated strategy
略，以確保該行業的競爭力。我們建議政府透過藝術 CH. 3
on future CCI talents is devised, and implemented, to ensure a
第三章
科技專責小組，為文創產業制訂長遠人才發展規劃， competitive future of the industry. We recommend the
並且注重數字化和沉浸式趨勢下所需的技能，提升香 Government—via the new bureau, the Arts Tech Task Force or CH. 4
61
港文創產業實力，讓大家都可參與其中。 otherwise, formulate a long-term manpower planning roadmap
第四章
to galvanise the sector and expedite training. This farsighted
Human Resources Strategy for CCI development shall draw
虛擬製作攝影棚 specific attention to skillsets required under an increasingly CH. 5
Virtual production 第五章
set digital and immersive landscape, with strategic plans and
achievable visions to strengthen Hong Kong’s ever-expanding
CCI where virtually everyone can play a part. 61

61 南韓則有法律監督文觀部履行其職責，包括制定人才培訓政策：例如南韓《內容產業促進法》的第
14條指明文觀部需通過學校、專上院校和韓國文化產業振興院，為內容產業培訓專才（請注意南
韓採用大陸法，與香港的法律體系不同）。
There are laws in South Korea that mandate the MCST to carry out its responsibilities, including to
formulate strategies related to talent training: Article 14 of South Korea's Content Industry Promotion
Act, for instance, mandates MCST to train specialists for the content industry via schools, colleges, and
KOCCA (note that South Korea has a civil law system, which is a different law system compared to
Hong Kong).

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