Huidige selectiecriteria en de online documentaire HOOFDSTUK 4 ...

ut for a number of reasons these budgets are not used to their full potential. First, the
Mediafund is limited in their mandate to financing productions of public broadcasters. Dutch
public broadcasters withdraw from the Internet, because they are suffering from governmental
cuts and limitations on their online presence. The government sees a lot of online activities
from public broadcasters as unfair competition for commercial enterprises. Therefore all online
activities must be immediately linked to productions for radio or television. Second, for some
reason Dutch production companies and makers seem hesitant to experiment with these new
forms. Where the public funds are, or become, involved with the financing of online forms of
documentaries they are very interested in co-operation with Sound and Vision. Thus they also
allow for the easiest, most standardized form of acquisition.
Further sources for the financing of online documentaries is often a combination of
funding by privately held funds, such as the SNS Reaal fund, VSB fund, or GasTerra, funding
by foundations and clubs, through crowdfunding and makers’ own resources. The number of
crowdfunding organisations in The Netherlands is very limited, so these are another possible
point of entry for Sound and Image to acquire materials for their collection.
Among production companies there is still only a limited amount of activity on the
Internet. The exception is Submarine, a in part publicly funded production company whose
mandate it is to experiment for commercial enterprises to be inspired by the possibilities
presented. These type of production companies are open to co-operation but are more
concerned with the possibilities for reuse and re-distribution of productions. Sound and Vision
could explore the possibilities to offer their services in return for guaranteed delivery of new
productions to the archives.
At the time when online documentaries are already distributed online, acquisition can
only take place manually. This procedure is very labour intensive and therefore costly. On
video portals such as YouTube and Vimeo labels, categories, channels and descriptions are
not accurate enough to filter out the relevant videos in a few simple actions. Use can be made
of festivals’ expertise in the selection of material for contests. Doclab and the Dutch Online
Film Festival have the network, resources and expertise to select the most important online
contributions.
CHAPTER 5: OPTIONS FOR PRESERVATION
Five approaches to the longterm preservation of internet documentaries (and other ‘interactives’)
are described in this chapter and judged on their merits.
Technological preservation
This method of preservation is concerned with the preservation of the original hard- and
software configuration in which a production was originally launched. It includes the storage
and maintenance of technological objects and machines. The advantage is that the original
viewer experience is preserved. The downsides of this method are so numerous that it is
hardly feasible. Consider the enormous quantity of technological objects that would have to
be preserved, the expertise that would be required to keep these machines working and the