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從文創產業角度來看，這些職能與南韓的相比根本微 From the CCI’s perspective, these functions are insignificant Preface
compared to what South Korea does, when one of its latest funding 前 言
不足道，南韓最近的版權資助策略之一是為使用和發行
strategies for copyright is to build a strong environment for the use
版權作品建立穩固的市場環境（文觀部，2021 年）。如
and distribution of copyrighted works (MCST, 2021). As reflected in CH. 1
上圖 11 所示，此策略在版權使用和發行（6,200 萬
Figure 11 above, this specific strategy manifests through the funding 第一章
港元）和版權信息管理服務（1,600 萬港元）的資助金
for copyright use and distribution (HKD 62 million), and copyright
額中體現。以上種種得以表明香港目前在文創產業開
information management services (HKD 16 million). All these CH. 2
發版權商機上仍然有所不足。 accentuate Hong Kong’s current weakness in exploiting copyright 第二章
opportunities for the industry.
通過與南韓在相應範疇的撥款自主進行分析和比較，
CH. 3
我們可以得出香港目前缺乏對文創產業的資助規模和 Through drawing cross-bureau analyses and benchmarks with 第三章
corresponding funding in South Korea, we have concluded that we
整體策略。而最明顯的資助差異出現在「內容」（對創
lack both funding size, and overarching strategy for the CCI. The
意產業的投資）和「版權」（發掘和發展與創意產業相 CH. 4
most obvious funding discrepancies are found in areas of “Content”
關的版權經濟潛力）領域，亦是我們認為結構上可以 第四章
(investment into the creative industries) and “Copyright” (developing
進行更大重組的領域。
and excavating the economic potentials of copyright in relation to the
CH. 5
creative industries), which align with our perceived structural
綜合上述這些資助缺口，加上其一次性及缺乏連續性 第五章
disadvantages.
的弊端，可顯示出政府缺乏整體戰略。有見及此，我
們建議： These funding gaps, combined with one-off, often discontinuous
funding practice, signal the lack of an overall strategy. We respond to
this limitation directly:
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