Page 96 - Arts Innovation Report_2022_May11
P. 96

RECOMMENDATION 2.2
           如上列表 13 所示,香港大部分資助都是一次性或只針對
                                                                                 建議
           特定行業,並且通常與其他資助計劃毫無聯繫。這窒礙
           了不同創意媒介對 IP 內容的開發,例如,電影發展基金
           三個主要計劃中有兩個都不接受以改編劇本作申請,不
                                                                     設立以支持內容開發為主的新資助機制
           僅沒有發掘將其他界別優質內容轉化為電影的潛力,更
                                                                     Devise a new funding mechanism for
           削弱了所有任何其他 IP 內容的開發機會。相反,我們可
                                                                     content development, mandated at
           以看到台灣支持各種創意領域的內容開發,尤其是影視
                                                                     promoting and supporting the
           內容。
                                                                     IP development process of creative contents
           同樣,創意智優計劃和藝能發展資助計劃(藝術科技類
           別)均未涉及任何與 IP 內容開發的範疇。從之前的資助
           項目名單來看,他們主要支持以活動為主的項目。以上                                  從香港目前對於文創產業的資助情況來看,的確有針
           種種也表明,香港的文創產業資助計劃並未能夠互相合                                  對特定行業的資助計劃,但暫時沒有一個能夠將整個
           作,亦未能真正貢獻個別產業。                                            行業連繫起來,以實現更大、更強、更加緊密的行業
                                                                     發展計劃。
           As provided in Table 13 above, most of our funding schemes
           champion one-off, sector-specific projects, and are kept quite   因此,我們懇請政府打破目前文創產業相關資助計劃
           separate from other funding schemes. This prevents any    間的隔閡,建立一個鼓勵並允許所有文創產業相關資
           thinking or action done on IP development across different   助計劃相互協作的新機制,只有這樣,我們最終才能
           creative media. Of the three major schemes under FDF for   夠實現產業化思維。
           instance, two do not support adapted scripts, which
           undermines potentials for quality content from other sectors to   Judging from the current funding situation for the CCI in
           turn into film content, also undermines any other IP      Hong Kong, we see that there are funding schemes for sector-
           development opportunities further down the line. On the   specific projects, but none that link the sectors together to
           contrary, we see Taiwan fully embracing the development of   build a bigger, stronger, and more coherent industry.
           content across various creative sectors, particularly for the   We earnestly implore the Government to break down the
           screen sector.                                            current barriers between all CCI-related funding schemes,
                                                                     which would involve devising a new mechanism that
           Similarly, neither CSI nor ACDFS’s Arts Tech funding has any
           mandate for IP development. They are mainly seen to support   encourages and allows all existing CCI-related funding
           events-based projects judging by their previous lists of funded   schemes to work together. Only in doing this will we finally
           projects. All this points to show that Hong Kong’s CCI funding   realise industry-based thinking.
           are not working together, nor contributing to one industry.

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