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Films are a crucial part of our cultural heritage – something to be treasured, studied, and carefully preserved, says Professor of Media Heritage, Technology and Culture Giovanna Fossati. However, budget cuts are making the archives and museums responsible for this work increasingly vulnerable. How can these institutions protect themselves? We discuss this with Fossati and her colleague, Professor of Cultural Value, Patronage and Society, Helleke van den Braber.

Preserving thousands of hours of cultural history

“The Netherlands has two main audiovisual archives,” Fossati explains. “The and the . Together, they safeguard and restore an incredible .” She knows the world of film archives inside out: before joining Utrecht ľ�ϸ���Ӱ�� earlier this year, she was Professor of Film Heritage at the ľ�ϸ���Ӱ�� of Amsterdam and Director of Collections & Knowledge Sharing at the Eye Filmmuseum.

Archives and cultural institutions play a vital role in preserving heritage, but they face increasing pressure worldwide – from funding cuts to political and ideological shifts. “Being heavily dependent on public subsidies makes archives vulnerable,” Fossati says. “That’s why it is crucial to explore alternative funding sources, like partnerships with private institutions, foundations, or crowdfunding. Crowdfunding is particularly valuable. Not just as a financial boost, but because it builds a wider community that recognises the importance of cultural heritage.”

Crowdfunding: more than just financial support

Helleke van den Braber researches arts philanthropy. When government support dwindles, cultural institutions have to look elsewhere for funding. She argues that organisations with a diverse financial base are most resilient.

“It is risky for the cultural sector to rely too heavily on a single funding source. A smart approach is to invest in a dedicated fan community around your archive or institution. A passionate, engaged support base is worth its weight in gold. ‘Friends’ don’t just offer financial help, they also become ambassadors, advocating for the collections you want to preserve or restore. This gives institutions more stability if public funding is ever withdrawn.”

Big tech’s growing interest in Dutch archives

A new type of donor has entered the scene: American big tech companies. Many are eager to invest in film archives, including those in the Netherlands, where they are keen to collaborate on digitisation projects, for instance. While this might seem like a positive development, Van den Braber warns of the risks. “Big tech companies are a prime example of donors who don’t just give, but also take. Archives can negotiate better deals if they have multiple sources of funding, so they can make use of sponsorship money without becoming dependent on it.”

Embrace and use the donations of large players, but not without negotiation and setting clear boundaries.

Fossati agrees. “These companies often have different priorities from heritage institutions. Their main interest is data. So who gets to decide which films or collections remain accessible, and on what terms? We need to be cautious and push for open access, fair licensing agreements, and transparency.”

The need for clear agreements

Archives must remain vigilant and committed to open access, fair licensing agreements, and transparency, Giovanna Fossati advises. “At the same time, we can use technology in new ways. Through decentralised, open-source initiatives, for example, that allow archives and communities to manage and share their own collections.”

Cultural institutions often struggle to set firm conditions, as large sums of money are at stake, Van den Braber acknowledges. “Heritage organisations know that such funding could allow them to do incredible things. That’s why I advocate for a pragmatic approach: embrace and use these opportunities, but don’t accept them without negotiation and setting clear boundaries.”