FIAT/IFTA World Conference 2026

[This session will be in Portuguese. Simultaneous translation will not be available.]

The Museum of Image and Sound of Ceará (MIS CE) was established with the mission of preserving and promoting the state’s audiovisual heritage. Today, its collection is estimated at around 160,000 items, including part of the archive of Educational Television (TVE). Founded in 1974, TVE was created to produce educational content for the Ceará State Secretariat of Culture and Education through a tele-education system.
When the museum was founded in 1980, part of the TVE collection was incorporated into its holdings. This material includes records, 16 mm film reels, and slides. As one of the earliest collections within MIS CE, it was affected over time by relocations and interruptions in preservation processes.
In 2022, the museum was reopened and expanded with a new annex building. This facility includes updated storage areas as well as preservation and digitization laboratories. With new technologies, such as a film scanner, the museum has significantly enhanced its ability to process and share its collections, particularly the TVE archive. A recent assessment helped identify losses that occurred during past relocations and determine how much of the collection still requires digitization.
During the digitization process, numerous materials of historical, cultural, and political significance to the state were identified. This collection reinforces the role of television archives in shaping identity, as it reveals transformations within communities and traces the development of regional social values.
In this context, the history of audiovisual production and television in Ceará - home to the third television station established in the region -, can now be revisited through previously inaccessible sources. It also opens new avenues for research into these materials, contributing to a broader understanding of television history in Brazil.

This communication aims to present the first audiovisual preservation efforts at the State University of Goiás, starting with the creation of the University Laboratory of Audiovisual Memory (LUMINAV), the first in the Brazilian Midwest dedicated to this purpose in a public university. In less than a year of existence, LUMINAV has already managed to digitize and catalog the entire collection of the UEG Cinema and Audiovisual Course (more than 500 short productions in 20 years), in addition to having received more than 1500 items in two collections of inestimable value to 
the culture of Goiás: the Caravídeo collection - containing records of traditional communities, cultural events and social movements active in the state in the early 2000s - and the collection donated by anthropologist Telma Camargo, with accounts from people affected by the Cesium-137 disaster in Goiânia.
This paper also presents the challenges for LUMINAV's permanent and sustainable work in preserving audiovisual memory in Goiás, a territory where public policies for audiovisual media prioritize production and exhibition events, without concern for sound and image heritage accompanying these funding opportunities. Through documentary analysis of the laws that guarantee public funding opportunities for culture in Goiás over the last 10 years (2016-2026), we seek to outline a panorama of public policies for audiovisual media in the state, as well as to point out ways in which audiovisual preservation is considered not through isolated proposals, but as a category eligible for permanent resource allocation.

As Ireland’s national public service media organisation, RTÉ holds a vast, irreplaceable repository of the state’s audiovisual heritage. However, the transition from physical carriers to a resilient digital future presents a challenge. This presentation examines RTÉ’s large-scale migration and digital preservation odyssey - a programme that balances the weight of historical stewardship with the realities of modern fiscal and technological constraints. We analyse the answers to key questions for this programme of projects, such as:

• How did we migrate different archive collections? i.e., how were resourcing challenges tackled and how did we decide on in-house versus outsourced aspects of migration?
• How did we restructure the archive department to accommodate the resourcing of the large-scale projects running in parallel to business as usual?
• How did RTÉ Technology approach this challenge, and what was the modern, resilient, and most cost-effective technology solution deployed to accommodate this mass migration and provide long-term digital access to audiovisual archive content?
• How did we introduce digital preservation principles, and what remains to be done in this area?