Page 98 - Arts Innovation Report_2022_May11

RECOMMENDATION 2.2
建議

我們建議，內容開發的新資助必須涵蓋各個行 We recommend that the new funding on content development
must fully embrace the development of content across various
業的內容開發，從現有資助計劃的實踐和行業
sectors, amalgamating lessons learnt and industry feedback from
反饋中汲取經驗，嘗試解決當前的不足，包括
existing funding practices. Drawing from current limitations
但不限於：
including but not limited to:
• 電影發展基金目前只支援「劇情片」項目，
• FDF is currently mandated to support “feature-film” projects only.
其他影視形式都不符合申請資格。然而，全 This means other screen contents are currently not eligible for
球趨勢和業界動向都在指向電視和電影的融 the funding. Yet, global trends and industry movements have
合，例如 Netflix 的混合模式便彰顯了兩者 shown that the convergence of TV and film, such as hybridised
協同發展的巨大潛力。這意味着，電影發展 formats like Netflix, presents immense potentials for synergies
between the two. This signals FDF, or indeed any future
基金或是未來與影視行業相關的資助計劃都
funding for screen media, to expand its scope to encourage
需考慮到這一點，以擴大媒介範圍來鼓勵行
more content development across different screen sectors.
業進行更多跨界內容開發。（參考：台灣前
(Reference: Taiwan’s Development Fund)
期開發支持計畫）
• CSI currently has no mandate for IP development, which is
• 創意智優計劃目前沒有與 IP 內容開發相關的
notable as it is supposed to champion all creative industries,
範疇，值得留意的是，它應該支持所有（電 including publishing, and screen industries (besides film) which
影以外）的創意產業，包括與本節相關的出 were pertinent in this section. However, CSI’s funding across the
版和影視產業。然而，創意智優計劃的資助 board tends to be very sector-specific. This limits significantly,
通常只針對特定行業，這極大限制了文創產 the potentials of original ideas to be passed across various formats
within the CCI as part of IP development. This signals for
業中 IP 內容開發的部分，原創作品以不同媒
revamps within CSI itself, and also signals any new future
介方式呈現的潛力也被大幅削弱。這代表創
funding to be proactive about facilitating IP development
意智優計劃有待改善，也預示着未來任何新
across Hong Kong’s CCI. (Reference: Taiwan’s Book-to-Screen
的資助計劃均需助力香港文創產業的 IP 內容
Adaptation)
開發。（參考：台灣出版與影視媒合計畫）

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