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從圖 10 可見，2021 年南韓文觀部內容政策局和媒體 Figure 10 here is a snapshot that gives a glimpse of the multi-pronged
allocation of funding seen in the Content, and Media Policy Bureaux
政策局的資助分配多管齊下，相反，香港對整個廣播
of South Korea’s MCST in 2021, versus Hong Kong’s single lump sum
及創意產業卻沒有列明策略細節，僅一個總資助額。
funding for the entire Broadcasting and Creative Industries.
其一，在撥款規模上，南韓投放在創意產業的總預算 First, on funding size, South Korea’s total budget for the creative
25
遠高於香港―至少 44.1 億港元， 對比之下香港則
industries is way larger than that of Hong Kong’s—at least
為 6.45 億港元―而且必須強調，南韓每年都會向這 HKD 4.41 billion compared to Hong Kong’s HKD 645 million—and
25
些行業注入資金，而不是像香港隔數年撥款。由此可 it must be emphasised that funding is injected into these sectors
見，政府並沒有優先發展或銳意支持的領域，導致撥 annually rather than periodically like Hong Kong, which is usually a
款零散，而這亦是長久以來其中一個阻礙文創產業發 few years between each injection. The Government’s lack of priority
展的原因。 may explain its piecemeal funding practice, and this is one of many
longstanding pain points hindering CCI development.
其二，南韓的資助分配具策略性及針對性。我們可以
Second, South Korea’s funding allocation is strategic and specific.
留意到南韓的撥款分配十分仔細，相比之下，香港只
Noticeably, South Korea outlines funding distribution in much more
將所有行業歸納成一個資助群體。譬如説，我們很容 detail compared to Hong Kong, who groups all industries into one
易看出南韓於遊戲產業投入最多資源，總計約 4.26
category. For instance, we can easily tell that South Korea has
億港元，金額將近香港分配給整個廣播及創意產業的 allocated the most resource to the game industry, totalling
資源，而緊隨其後為沉浸式內容產業，當中涉及藝術 approximately HKD 426 million—only slightly below what Hong
科技。政府撥款分配可以反映策略，表明政府重視哪 Kong allocates to all broadcasting and creative industry matters.
些領域。從資助分配，我們可以推斷出南韓政府將遊 Second to the game industry is the immersive content industry, in
which Arts Tech plays a part in. Funding allocation reflects strategy
戲和未來內容視為發展方向。我們可以由此再次得出
and denotes which areas the Government places value on. From
香港缺乏藍圖或策略。
funding allocations, we can deduce that South Korea places value on
gaming and future contents as a way forward. In this connection,
其三，版權是南韓文化政策下另一個核心領域，但也
Hong Kong’s lack of blueprint or strategy is once again validated.
是香港暫時忽略了的領域（詳見圖 11）。
Third, copyright is another core arena of focus under South
Korea’s cultural strategy, an area Hong Kong has perhaps
overlooked (see Figure 11).
25 南韓的數字是通過將文觀部2021年度預算中，內容政策局預算裏最具可比性的項目相加得出的。具體撥款項目和金額請參考圖10。
The South Korean figure was reached by adding up the most comparable, selected items from the Content Policy Bureau’s budget from the MCST's Annual 2021 Budget. Refer to Figure 10 for specific items and respective
amounts.
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