Page 99 - Arts Innovation Report_2022_May11

Preface
前 言

• 當下藝術科技資助計劃中的資助範疇亦能進一步 • The current mandate observed in the Arts Tech funding CH. 1
would corroborate this further. It currently supports projects 第一章
佐證這一點。儘管該計劃支援以藝術科技為主的
that embody Arts Tech as an end in itself—culminating in a
項 目， 以 實 體 活 動 或 製 作 研 發 類 項 目 為 重 點 對 CH. 2
physical event or production or an R&D project, but pays no
象，但最終並未關注更多的內容開發，例如將戲 第二章
regard to facilitating, say, a theatrical script into a video
劇劇本轉化為電子遊戲，或將文學作品改編成動
game, or adapting a literary works into an animation. Given
畫。鑒於這項資助計劃在 2020 年才開始試行， CH. 3
that this funding only piloted in 2020, more can certainly be
其資金機制還有改善的空間。我們亦期望藝術科 done to refine its funding mechanism. We also expect much 第三章
技資助與日後其他支持內容開發的資助能夠展現 synergy between the Arts Tech funding and the new
跨領域的協同作用。（參考：台灣的未來內容原型 funding for content development, of their cross- CH. 4
開發支持計畫） disciplinary nature. (Reference: Taiwan’s Future Contents 第四章
Development Programme)
最後，我們建議這項新的內容開發資助計劃能夠重視 CH. 5
Last but not least, we recommend this new funding for 第五章
對文化 IP 創造、開發和商業化的教育，這對文創產
content development also bring to the fore, the importance
業的業界人士來說尤為重要，更有助大眾理解如何在
of educational initiatives in IP creation, development, and
這個行業中持續發展事業，進而鞏固業界中的產業化
commercialisation, particularly for CCI practitioners. This
思維。 serves to build up the critical mass of those in Hong Kong who
know how to sustain a career in the CCI, which will in turn
consolidate an industry-thinking mindset within the sector.

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