creative industries fund nl
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Non-Fiction Transmedia Programme

Non-Fiction Transmedia Programme

Closing dates:

14 March 2017
15 August 2017

Budget: € 250.000

in association with the Dutch Cultural Media Fund and the Netherlands Film Fund

The Grant Programme for Non-Fiction Transmedia is a scheme by which Creative Industries Fund NL, in association with the Dutch Cultural Media Fund and the Netherlands Film Fund, is endeavouring to stimulate new forms of documentary-making and storytelling. For 2016 the three funds are making a total sum of €750,000 available within this collaboration. The scheme distinguishes between applications for development (up to €25,000) and for realization (up to €100,000). The subsidies are intended for the development and realization of projects with an artistic quality that investigate the boundaries of the documentary genre and address a socially relevant subject. By means of this scheme, the three funds are keen to stimulate projects within the interdisciplinary media landscape, as well as to encourage crossovers and innovation, with productions in which cinematic elements, design and e-culture are brought together.

Scroll down for an overview of transmedia projects that have received support in the past.
As of January 2016, Creative Industries Fund NL is serving as the programme’s secretary, also on behalf of the other culture funds. Applications can only be submitted via the Fund’s online application environment, for which you must first create an account that is approved by the secretariat. Accounts can only be approved on weekdays. In 2016 there are three application rounds, for which the deadlines are:

2 February 2016
24 May 2016
18 October 2016

Applications can be submitted until the day of the deadline, preferably before 17:00.

Results
Projects which comply with the conditions will be submitted to an independent advisory committee. The outcome of the selection process will be made known in writing within 6 weeks of the deadline.

Conditions:
All applications are subject to the conditions that are set out on this page, as well as Creative Industries Fund NL’s General Subsidy Regulations. With regard to funding, the applicant should bear in mind European Union legislation with regard to state support. It is therefore recommended that, besides the grant from the Fund within the context of this scheme, there are other parties investing in the funding of the project.
Projects that will be taken into consideration are those in which a transmedia manner of storytelling is pursued. In addition, projects must have relevant social issues as a theme. They should also possess a clearly demonstrable cinematic component, in which the visual narrative aspects and the use of new media applications are conjoined in a non-linear manner. The projects can use the web as a platform or take a feature film, documentary or TV programme as their starting point, provided that interactive and/or digital media are employed in a meaningful way. Nevertheless, the documentary character of the project does not preclude the use of fictional (e.g. play-related) elements in its elaboration.

N.B. Projects which have previously received a production grant for the project’s transmedia component from one or more of the funds involved are not permitted to submit an additional application via this scheme.Projects should be predominantly Dutch in character. Broadcasting companies as well as independent producers are welcome to submit an application. Educational institutions are ineligible for this scheme.

Development Grants
Development grants are intended for all the activities that precede the production phase, such as research, the development of scenarios and the elaboration of a transmedia structure. The maximum development grant is €25,000 per project. An application for a development grant must include a budget and funding plan for the development costs. It should also mention expected production costs, accompanied by a funding plan for the actual realization. In 2016 a maximum of 8 projects in the developmental phase will receive a grant. An application for a development grant must include a clear description of the prospective project (including storylines), the end product which the creators have in mind (vision with regard to interaction, design and information architecture, the team members involved), and the steps that will be undertaken during the development.

Production Grants
The maximum grant for production is €100,000 per project. In the case of a production application in which the submitted funding plan includes contributions that are not yet promissory or firm, the full funding must be guaranteed within 6 months of the grant from the Fund being awarded. Append quotations and declarations of intent from the parties concerned. All the elements listed in the checklist below must be included in an application for a production grant.

Checklist for production applications
The project plan must be prefaced by a clear table of contents with page numbers that consists of:
1. logline
2. background and social relevance of the subject
3. motivation of the makers
4. storyline or scenario
5. design, interaction design and media architecture
6. explanation of the added value of the transmedia elements
7. planning
8. a clear description of the end products
9. budget and any quotations
10. overview of the team and any declarations of intent
11. description of the target audience
12. communication and distribution plan
13. archiving plan
14. CVs
15. overview of earlier projects
16. overview of comparable projects
17. proof of registration with a Dutch Chamber of Commerce (KvK)
In the evaluation of a development application, attention will be paid to the project’s cinematic component, originality and social relevance. In this regard the following components are important:
the description of the intended project (including storylines);
the vision with regard to interaction, design and information architecture;
the team members involved;
the target audience;
which steps will be undertaken in the developmental phase.

In the evaluation of a production application, attention will be paid to
1. The artistic quality of the project’s design, cinematic component, scenario and the originality of the project.
2. The project’s subject matter, social relevance and urgency.
3. The intrinsic vision and motivation of the creators.
4. The vision regarding the mode of interaction, participation, media and information architecture.
5. The added value of the transmedia elements over a purely linear structure.
6. The available expertise and the degree of interdisciplinary cooperation within the team of creatives.
7. Research that underlies the subject matter.
8. The degree to which the project is clearly described (technically and in terms of content), the budget and funding are sound, and the end product is achievable.
9. The degree to which the application provides evidence of knowledge about and insight into the target audience, the expected public reach, public participation, as well as an action plan for reaching this audience.
10. The degree to which the project fosters as much of the used and generated (open) content and (open-source) software as possible being made publicly available and remaining so.
11. To what extent the project complements existing and comparable projects.
12. The project’s consistency with regard to objective, design and content.
Applications for project grants through the Non-fiction Transmedia Programme are assessed by the Non-fiction Transmedia Programme Advisory Committee. The members of the advisory committee are:

Suzanne van Voorst (chair)
Renée van der Grinten
Paulien Dresscher
Peter de Maegd
Juha van 't Zelfde
For further information, please contact our grant officer Joris van Ballegooijen at the Creative Industries Fund NL

grants issued Transmedia Programme

refugeerepublic.jpg

Non-Fiction Transmedia Programme Website / application

24 uur in een vluchtelingenkamp

Martijn van Tol, Dirk Jan Visser en Jan Rothuizen, 2014

€25.000
'24 uur in een vluchtelingenkamp' (24 hours in a refugee camp) is a transmedia project by Martijn van Tol, Dirk Jan Visser and Jan Rothuizen in collaboration with de Volkskrant. The project charts the lives of people who have sought shelter in Domitz, a Syrian camp in northern Iraq. Rather than depicting the refugees as victims, the makers of this interactive production want to highlight everyday life in the camp. The stories are visualized by Jan Rothuizen and Aart Jan van der Linden.
Blue_Screen_Transmediaregeling.jpg

Non-Fiction Transmedia Programme Website / application

Behind the Blue Screen

Ruben Pater, Jaap van Heusden, 2014

€7.000
'Behind the Blue Screen' by Ruben Pater and Jaap van Heusden is a video app that conceals the face of a person who wishes to remain anonymous. In a series of sixteen video episodes published on the website of De Correspondent, people tell personal stories through an unpolished interface. The project is an outcome of the masterclass series [email protected]
zwarte_piet.jpg

Non-Fiction Transmedia Programme Website / application

Ook al ben ik zwart als roet

Sunny Bergman, 2014

€25.000
Familie Film & TV has received a development subsidy for a project entitled 'Ook al ben ik zwart als roet' (Even though I’m black as soot), which it is producing with Sunny Bergman, (Beperkt houdbaar, Sletvrees) and IJsfontein. 'Ook al ben ik zwart als roet' is a transmedia project that examines insidious forms of racism and so-called 'white privilege'. More than a television documentary, it uses various (online) platforms and a game to highlight and discuss privileges and unconscious prejudices regarding skin colour. The annual discussion concerning the folklore figure known as Zwarte Piet formed the immediate inspiration for this project.
love_radio.png

Non-Fiction Transmedia Programme Website / application

Love Radio: Episodes of Love and Hate

Steketee, Blankenvoort, Kolster, 2014

€85.404
Love Radio is a transmedia project about the reconciliation process and the way people are coping with the genocide in Rwanda. In April 2014, it has been exactly 20 years since the killings of Tutsis and moderate Hutus took place, leaving more than 500,000 people dead in 100 days. The project consists of an online, interactive documentary and an exhibition in FOAM. In both cases, the makers address the fine line between the (imposed) reconciliation and the underlying tensions. Central to the project is the radio soap Musekeweya (New Dawn), a very popular Rwandan soap that aims to bring the different communities closer together. The very medium that was used to summon Hutus to murder their Tutsi neighbours 20 years ago is now used for this dramatized peace message. Though happy endings dominate the soap, real time reconciliation is proving difficult. Love Radio follows the soap’s writers, actors and listeners: Hutus and Tutsis who each carry their own memories. The premise of the documentary is that there is no such thing as ‘the truth’. There is room for different perspectives. The main characters, perpetrators and victims tell the story from every angle. The transmedia experience includes excerpts from Musekeweya and radio clips from 20 years ago. The production team is made up of photographer Anoek Steketee and filmmaker/journalist Eefje Blankevoort. Sara Kolster is supervising the online process and Kummer & Herrman are responsible for the design.
verticalcitizens.jpg

Non-Fiction Transmedia Programme AV production

Verticalcitizens.com

Basaltfilm, 2014
Verticalcitizens.com follows the first inhabitants and users of Koolhaas’s new building De Rotterdam online, showing how a new community slowly gathers and gains momentum – or, if things go badly, crumbles and falls. Verticalcitizens.com is a transmedia project: the site interacts with the documentary film Verticale Stedelingen. Verticalcitizens.com will follow the developments in De Rotterdam for at least two years after its occupation. The project depicts the building as an organism, with data functioning as a heart monitor, supported by photography and audio functioning as ECGs and a thermometer. This application includes the development of the site and the transmedia architecture of plot lines.
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