FIAT/IFTA World Conference 2026

This proposal explores the consonance between the Social Technology of Memory (TSM) and the Design Method for Project and Resignification of Museum Spaces (MDPREM) as decolonial tools for audiovisual heritage management. The research investigates the Brazilian territory of Serra Pelada, a former gold mining camp historically stigmatized by extreme industrial extractivism. Instead of traditional top-down archiving, this approach transfers curatorial autonomy to marginalized communities, specifically focusing on former miners and local residents. By integrating TSM's active listening with MDPREM's pillars, the methodology transforms silenced narratives into active instruments of narrative justice. Ultimately, the project demonstrates how emotional design and social museology can redefine community-based archives as spaces of equity and dialogue. In Serra Pelada, the methodology guided the rescue, cataloging, and digitization of 417 historical audiovisual media from a local filmmaker, empowering 17 residents as "Guardians of Memory". Furthermore, the community implemented basic audiovisual preservation processes, including strict digitization standards and differentiated copies for both preservation and access. This initiative proves that true archival sustainability requires the emotional and political engagement of those who inhabit the territory, constituting a practical example of community audiovisual preservation models. Aligning with the conference theme "Screen Memories in Dialogue", this presentation reveals how marginalized groups can deconstruct structural erasure through self-representation. We conclude that the decentralization of audiovisual heritage is a fundamental step toward healing historical traumas and shaping inclusive futures.

Cinemateca da Quebrada is a community-based audiovisual archive created in the outskirts of São Paulo, Brazil, as a response to the historical erasure and misrepresentation of working-class and peripheral communities within official media archives.
The project focuses on collecting, digitising and activating films produced inside these territories, many of which have circulated through informal networks such as pirate DVD stands, independent productions and grassroots audiovisual initiatives. These images, often excluded from institutional preservation, constitute a vital part of contemporary audiovisual memory.
Rather than functioning as a traditional archive, Cinemateca da Quebrada operates as a living and collective platform. Through cineclubs, public screenings and educational actions, the archive is constantly reactivated in dialogue with the communities from which it emerges. In this sense, preservation is inseparable from circulation, and memory is understood as a dynamic and shared process.
The project also engages in transnational collaborations, notably with the Cinemathèque Idéale des Banlieues du Monde, fostering exchanges between peripheral territories in Brazil and France. These dialogues expand the understanding of audiovisual memory beyond national frameworks, highlighting common experiences of inequality, migration and resistance.
This proposal reflects on the challenges of building an archive from the margins: how to preserve without institutional support, how to legitimise informal images, and how to construct memory as a tool for political agency. By sharing this experience, the project contributes to rethinking archival practices in more inclusive, decentralised and community-driven ways.

This presentation would be a review of a season delivered at the BFI entitled, Constructed, Told, Spoken: A counter history of Britain on TV, which retraced the establishment of Multicultural TV Units at the BBC, ITV, and Channel 4, in March 2026. My season told a chronological story of how this unique British phenomenon in television programming came to be, defining this timeline as a movement in television non-fiction. 


In this presentation, I intend to tell the story of the emergence of multicultural programming, illustrate how the season brought together a range of voices, and shed light on the conditions for establishing these units and the programming they provided for minorities in Britain. I will detail the archives I worked across and trace the emergence as it unfolded throughout the season.


The timeline is as follows: it began with the emergence of the BBC's immigrant programmes unit in the 1960's. Followed by a period of institutional absence for multicultural policy, during which anti-racist television was developed externally by activists and found a place on our screens through open-access slots in the 1970s. By the 1980s, a defined institutional lane had begun to emerge, peaking in the middle years with a clearly articulated political and social positioning grounded in community perspectives coached in this institutional voice. Ultimately, the season traced the movement's progression toward its eventual decline and the phasing out of multicultural units in the early 2000s.


My presentation will show the programmes and the development of this political and social position, as mirroring diversity in Britain, how it functioned as a counter-narrative to the news and how its preservation and rediscovery through the archive reframes this period.

Audiovisual materials are experienced through screens and speakers and in the 21st century these can be found in every home, class room and pocket, providing an opportunity to massively expand access to the audiovisual collections. For the past three years, the National Film and Sound Archive of Australia (NFSA) has been renewing its approach to collection sharing and contextualisation across key external channels including YouTube, Facebook and Instagram. In March 2026, NFSA released an entirely new website designed as an online audiovisual museum. It provides access to 5,500 items from the collection, with more to be added regularly, along with curatorial notes and longer form journalism exploring the stories behind the clips. Designed to be appealing to the broadest possible audiences, the website is a resource of Australian history, of the diversity and impact of audiovisual forms, and offers a fun way to relive pop culture memories. 


NFSA is Australia's national audiovisual collection. Collecting began in 1935 making it one of the longest established public collections in the world. Over the decades, collecting strategies have changed and adapted in response to technological and cultural shifts. Today, the collection includes almost 700,000 individual works that span all formats from celluloid to interactive digital, and from factual and news recordings to games, music, broadcast, sports, social media and advertising. With such a broad scope, the collection offers potential to all Australians for inspiration, learning, research and enjoyment.


This paper will show how NFSA developed its multi-channel content distribution strategy, from staffing structures to market research driven insights, rights management, audience development and platform build, and will provide a snapshot of user responses six months from the launch of the website.

The Images Sport AI Project is the second major phase of the IOC’s long‑term digital transformation of its archival ecosystem, following the successful migration from bespoke on‑premises systems to a cloud‑based, integrated architecture between 2021 and 2024. This foundation introduced seven interoperable platforms for preservation, access and analytics, and enabled the structured migration of more than 85,000 audiovisual assets and 928,000 photographs with full metadata. 
Launched in 2024 in alignment with the IOC AI Agenda, the Images Sport AI Project introduces state‑of‑the‑art artificial intelligence into both front‑end discovery and back‑end documentation workflows. Its dual objective is to enhance search capabilities in The Olympic Media Library (TOML) and accelerate metadata creation within the Media Asset Management system through automated tagging. 
Front‑end innovations include AI‑driven image and video similarity search, enabling users to retrieve visually related content that traditional text‑based descriptions cannot capture. A conversational search prototype extends this further by combining TOML metadata, multimodal search and IOC data, allowing natural‑language queries and richer discovery pathways. 
On the back end, automated tagging uses deep‑learning models are developed to generate sport‑specific vocabularies (actions, equipment, venues), general actions, logos, symbols and framing descriptors, while deliberately excluding athletes’ identities or emotions to ensure compliance with legal and ethical frameworks. Winter sports vocabularies form the basis for pilot deployments ahead of Milano Cortina 2026, with Summer sports following  for Dakar 2026 Youth Olympic Games and Los Angeles 2028 Olympic Games. 
The project directly addresses key questions about large‑scale infrastructure, automation, authority control and ethical metadata governance. It positions the IOC Archives as a global laboratory for innovation within Sport Archives, demonstrating how AI can strengthen discoverability, operational efficiency and long‑term stewardship across extensive heritage collections.

This paper presents the development of a high-speed video search system based on image features for a large-scale video archive, NHK Archives, without relying on manually created metadata. Conventional video retrieval systems typically require extensive manual metadata annotation. In contrast, the proposed system extracts still images from video clips and computes their features using the CLIP model, enabling multimodal search with text or images to retrieve semantically related scenes.
To achieve practical response times over a massive dataset, the system employs approximate nearest neighbor (ANN) search. In addition, a prototype function was developed to automatically generate program structures by combining speech recognition and large language models (LLMs), improving the interpretability of search results by clearly indicating the corresponding programs and scenes.
The system adopts a hybrid architecture in which computationally intensive processes—such as clip extraction, CLIP feature computation, and speech recognition—are executed on-premise, while structure generation and search operations are performed in the cloud. This approach significantly enhances the accessibility of video content while reducing the cost of metadata creation for large-scale video archives.

Television historians inevitably have to contend with gaps when examining the audiovisual archives of broadcasters and preservation institutions, especially when searching for records from the medium’s early decades. However, this is a communication technology — and a domestic device — whose development has enabled audiences themselves to engage in practices of capturing and archiving content, a dynamic that has expanded significantly in the online environment.


Today, many TV fans make use of collective digital video-sharing platforms to upload recordings of old programs, originally captured on VHS tapes or DVDs. Some of these users have become known for this type of activity, at times receiving audiovisual materials from professionals who once worked behind the scenes in television. Not infrequently, clips made available by these fans are also used in contemporary productions focused on the careers of television personalities. Even the disputes between these viewer-archivists and active TV networks — dissatisfied with having recordings of their productions shared by third parties — ultimately attest to the recognition achieved by these fans, who are transformed into “professional-amateurs” as they demonstrate competencies related to the history of television in Brazil.


This paper discusses how the archives of viewer-archivists, as well as fandom practices attentive to past content made available by TV channels on their over-the-top platforms, have contributed to the preservation and narration of Brazilian television memory. Although fan archives are shaped by a curatorial dynamic guided by personal taste and affective investments, they constitute important sources for researchers due to their potential to house records that are no longer present in the broadcasters’ own archives. Moreover, fans dedicated to monitoring the streaming catalogs of TV networks shed light on the very archiving dynamics adopted by media conglomerates over time, revealing continuities, gaps, and reconfigurations in the criteria used for the preservation of television archives.

In contemporary broadcast television, audiovisual archives have moved well beyond preservation and historical reference. When placed in the hands of editors and curators working within promotional content, they become powerful narrative tools capable of connecting audiences across generations through emotion, memory and cultural identity. This presentation offers a practice-based perspective on how archival footage can be reinterpreted through montage editing to create new narratives that resonate with contemporary audiences.


Drawing from case studies developed at TV Globo, Brazil's largest broadcast network, the presentation examines promotional campaigns that combined archival footage from multiple decades to generate emotional continuity between past and present. These include national campaigns such as the FIFA World Cup, the Olympic Games, Formula 1, the 70th anniversary of Brazilian telenovelas, and the 50th anniversary of Roberto Carlos' iconic year-end television special. Each of these events carries a strong intergenerational dimension, having been experienced by different audiences over time.


A central element of this process is the curatorial work that begins before the edit: navigating broadcast archives in search of emblematic gestures, movements and emotionally charged moments with the potential to resonate across time. Once identified, these fragments are joined through match cut montage, transforming disconnected historical scenes into a single, continuous flow in which past and present coexist.
The presentation argues that montage editing functions as a form of cultural mediation that activates archival memory and reinforces broadcast television as a living repository of collective experiences. Rooted in a Brazilian context, it contributes to broader global discussions in the field, showing how the creative reuse of archival footage can introduce younger generations to cultural moments they never witnessed firsthand and transforming the broadcast archive into a gateway for intergenerational discovery.

We present an initial methodological framework for representing events in the automated cataloguing of journalistic audiovisual content. Integrated into a broader research project on the automation of document analysis in newsrooms, this study examines how eventbased metadata can be effectively modelled using controlled vocabularies, without requiring structural modifications to existing MAM indexing
systems. The approach operationalizes the 5W model—adapted here as 4W + 1H—through lightweight, nonontological solutions suitable for legacy documentation environments.


The research draws on a corpus of more than 5,000 news items related to the 2024 DANA weather event in the Valencian Community. Using a representative sample, the study analyses three types of documentary elements—documents, segments, and stories—to identify common metadata patterns, assess their potential for reuse in cascading automated workflows, and determine the structural limits of storylevel aggregation in news production contexts.


The results reveal persistent issues such as overindexing, multisemantic fields, weak traceability, and inconsistent responses to the 5W framework. The study examines whether advanced semanticweb structures (ontologies, knowledge graphs) are necessary, or whether enhancing existing controlled vocabularies and refining metadata field architectures can provide sufficient robustness and operational value.


The findings underscore the need to improve metadata structures whose semantics depend both on their formal design and on their functional placement within the document record, as key factors for enhancing retrieval, consistency, and automation in audiovisual news cataloguing.

RTÉ Archives has, for many years, developed meaningful partnerships with cultural institutions, community organisations and memory networks across Ireland and the Diaspora. Central to this work is a commitment to meeting communities where they are, recognising that meaningful engagement with audiovisual heritage happens both in physical public spaces and online environments that people already use and trust. Through collaboration with museums, libraries, cultural centres and creative community initiatives, RTÉ Archives is able to open the collections of Ireland’s public service broadcaster in ways that cannot be achieved alone, supporting engagement and dialogue across all island of Ireland and diasporic contexts.
Aligned with FIAT/IFTA’s 2026 theme, “Audiovisual Memories as Spaces of Dialogue”, the presentation illustrates how cross‑institutional and community partnerships enable audiovisual archives to function as dynamic civic resources. Working across physical public spaces, online environments and specially designed, curated applications, these initiatives demonstrate how innovative uses of audiovisual archival collections can support inclusive dialogue and meaningful engagement with shared histories across different communities, sectors and generations.

As concern mounts regarding the global climate crisis, the environmental impact of audio-visual archiving has been widely recognised as an urgent concern. Thus, it has become vital that archival institutions critically reflect on their praxis, their responsibility to the environment and to memory, and their narration of archival loss. In dissecting this, a pervasive tension is revealed between the professional aspiration for permanence and the stark reality of precarity. Unfortunately, this dialogic gap remains underexamined, particularly in the public-facing contexts where archives construct their identities. In response, the project at the heart of this presentation investigates how permanence, visibility and ephemerality are narrativised and communicated publicly by six FIAT/IFTA member institutions. Through a systematised audit of accessible catalogues, official communications, mission statements, websites, and social media presences, our goal is to better understand how these archives represent their purpose, negotiate discourses of loss, and make themselves visible (or invisible) in the digital landscape. 
This year marks the 5th and 10th anniversaries of two devastating fires at the Cinemateca Brasileira facility (2016 and 2021). With the FIAT/IFTA conference being held at an institution so familiar with archival loss, we feel it is both poignant and necessary for a discussion of permanence, visibility and ephemerality to hold a powerful presence in this space. Further contextualised by an increasingly critical climate reality and a plethora of rising geopolitical tensions, we also believe that in 2026, the notions of loss, legacy and mortality are more palpable than ever. In turn, the recent emergence of high-concept ultra-long-term media storage technologies, such as DNA-based data solutions, provides a stark contrast. As mass-digitisation projects and novel experimental technologies tease the potential of more permanent futures for cultural memory, we propose to initiate a dialogue between the institutions at the very heart of these debates.

The Archive establishes itself as a living space for creation, innovation, and value generation. In a landscape driven by artificial intelligence, a new form of leadership emerges: the Archive professional who also acts as a content producer, strategic curator, and connector within the media ecosystem.
With the support of AI, knowledge that was once built exclusively through manual descriptions expands. Technologies begin to uncover relationships, contexts, and opportunities hidden within content. This professional understands the Archive as an integral part of the media production process.
All of this happens without losing what is essential: preserving valuable material, caring for raw footage, maintaining organization, and defining what should be kept as heritage and collective memory.
The future of the Archive does not break with its foundations—it amplifies them. And it positions this professional as a bridge between memory, technology, and the creation of new futures.

Since 2023, the Caracol Television audiovisual archive has been working on the technical verification and digitization of its 16mm film collection. This includes more than 3,000 newsreels and program rushes that remained unseen or unrecognizable for generations of viewers for over 50 years.
In partnership with the Faculty of Arts at Javeriana University, we have been working on an unprecedented process: digitization using a Gugusse Roller, a "handmade" technique that has allowed us to uncover images of our country from the 1960s and 70s. With the support of visual arts students, we have begun a training program that encompasses all stages of working with this type of material: verification, preparation, digitization, digital preservation, and licensing for creative projects.


This presentation will not only describe the details of the process but will also highlight the use of open-source technology to overcome the lack of a scanner. In addition, we will reflect on the importance of creating pedagogical processes for creative uses of the archive in our context.

Artificial intelligence is rapidly becoming a primary interface to knowledge and culture. Audiovisual archives therefore cannot remain passive observers. They steward some of the richest records of public life: broadcast history, oral testimony, performance, news, memory and cultural expression. As AI systems increasingly mediate discovery, interpretation and reuse, archives face shared challenges around extraction, invisibility, misrepresentation, governance and reciprocity.
This panel frames these challenges through the concept of Public AI: an approach to AI that serves the public interest rather than purely commercial logics. For audiovisual heritage, this means three concrete things. First, public assets: archival data, metadata, tools and standards should remain as open, interoperable and reusable as possible, reducing dependence on closed platforms. Second, public purposes: AI should support access, interpretation, education, participation and creative reuse of audiovisual heritage, rather than merely mining archives as raw material. Third, public oversight: decisions about how archival content is used in AI, under what conditions, and with what safeguards, must remain subject to meaningful public accountability.
Together, these principles offer a practical alternative to extractive AI models. They position audiovisual archives not just as data providers, but as institutions that can shape more democratic and trustworthy AI futures.
In this panel, three speakers will explore how audiovisual archives can contribute to Public AI through data stewardship, contextualisation, standards, rights-aware access and collaborative governance. The discussion builds on the Alignment Assembly “Culture for AI” [1] and follow-up work linked to the Data Space for Cultural Heritage and the European Collaborative Cloud for Cultural Heritage.
Participants will gain concrete insights into how audiovisual archives can respond strategically to AI, including practical perspectives on metadata, rights, access, standards and collaboration that are directly relevant to the FIAT/IFTA community.
[1] https://www.dataspace-culturalheritage.eu/en/news/discover-our-new-publication-on-artificial-intelligence-and-the-data-space

The Importance of Archives in Non-Fiction True Crime Series
The true crime genre has become one of the most widely consumed formats in contemporary audiovisual culture. From classic documentaries to series on digital platforms, one of its essential characteristics is the use of archival materials: police recordings, news footage, trial tapes, photographs, home videos, or excerpts from television programs. These elements are not merely visual resources; they form the foundation that provides credibility, depth, and legitimacy to criminal storytelling. I will talk about 

1. Archives as a guarantee of authenticity
2. Archives as a narrative tool
3. Archives and collective memory
4. Archives as a space of power and ethics
5. Archives as an instrument of public truth
6. The role of the archivist in non-fiction true crime series

A significant portion of the collection managed by Empresa Brasil de Comunicação (EBC), a federal public broadcasting company, was produced before the company was established. The state-owned company was created by Law No. 11,652 of April 7, 2008, and all assets previously managed by the Roquette Pinto Educational Communication Association (Acerp) and Radiobrás were transferred to EBC. Although the transfer of assets was provided for by law, this was not sufficient to avoid questions regarding the ownership of this collection. In addition to the legal aspects, the lack of existing documentation on the audiovisual and radio works created challenges for management, particularly regarding licensing, access, and distribution.
The growing interest among audiovisual professionals, teachers, researchers, and students in the content produced over the course of 100 years of Brazilian public broadcasting history calls for solutions to existing challenges and strategic decision-making to enable access to and dissemination of this collection.
Accordingly, the purpose of this presentation is to share the experience of the Archive and Research Management Department (GARPE)—which oversees EBC’s collection—in addressing these challenges and the measures being taken to find solutions that ensure broader access, dissemination, and licensing, not only for students and professionals in the audiovisual industry but for society as a whole.

This piece explores how the Madeja Archive was created and how it has developed over time. Madeja isn’t just any archive, it’s a dynamic, evolving collection housed within the Fundación de Arte Contemporáneo (FAC) in Uruguay. It all began in the early 2000s, driven by a genuine sense of urgency among artists and curators. They noticed that fragile audiovisual works from the late ’70s onward, recorded on U-Matic, VHS, Betacam, MiniDV, Hi8, and even film, were slowly deteriorating and at risk of disappearing forever.
But Madeja was never intended to be a cold, neutral storage room. From its inception, it was political, personal, and even a bit defiant. The archive emerged from moments when artists and curators discovered their own work decaying on shelves or realized that no one in Uruguay was supporting the preservation of independent audiovisual art. There were no public policies, no safety nets. Madeja approached preservation not only as a technical solution, but as a form of care, a gesture of resistance against being lost or erased.
Time operates differently within Madeja. It isn’t a neat, linear timeline. Each piece in the collection carries at least three layers of time (each layer occurring decades apart): 1. the moment the artist created it, 2. the moment it joined the archive, and 3. the moment someone revisits it to reuse or reinterpret it. Madeja preserves everything: tapes, boxes, handwritten labels, curated playlists, notes from the era. It isn’t just about digital files, it’s about maintaining the complexity and context of each object and the web of relationships around it. The archive ends up resembling a tangled skein (a “madeja” in Spanish) where different eras, technologies, and emotions are intertwined.
This presentation situates Madeja at the heart of important discussions about memory, media archaeology, and the ecological politics of digital preservation. It examines what happens when data exists within fragile environments, or when issues of power and funding (or the lack thereof) determine what survives. By emphasizing collective authorship, marginalized voices, and activist modes of archiving, Madeja understands memory not as a finished narrative, but as something always evolving. It’s about creating room for future curators, artists, and educators to keep these works alive and relevant, regardless of how much time goes by.

Audiovisual archives are sovereign infrastructures of cultural memory. They are not merely collections of content: they are the evidentiary foundation of public discourse, the raw material of historical knowledge, and a shared resource whose integrity is a condition of trust in media institutions. Generative AI and deepfakes can pose a structural threat to this integrity — not only by enabling the production of false content, but by corroding the epistemic status of archival material itself. A manipulated archive is no longer a reliable source; it is a liability.
This paper argues that broadcasters occupy a distinctive position in the governance of AI-generated deepfakes: neither as technology providers nor as distribution platforms, but as custodians of audiovisual heritage with editorial responsibility, reputational capital, and existing technical capacity. From this position, broadcasters can act as upstream governance actors — intervening at the point of content production rather than relying exclusively on downstream detection, fact-checking, or user-labelling. The central claim is that voluntary adoption of content-marking standards (watermarking, C2PA/IPTC metadata, provenance certification) by broadcasters constitutes a form of shared technological capacity that strengthens the infrastructure sovereignty of audiovisual archives.
The paper develops its argument through three moves. First, it situates broadcasters within a polycentric governance framework (drawing on Ansell et al., 2023 and Floridi et al., 2024, 2026), distinguishing this approach from the normative inflation critique: the effectiveness of broadcaster-led governance derives not from adding further voluntary principles to an already saturated landscape, but from the specificity of institutional incentives and the concreteness of available technical tools. Second, it analyses Article 50 of the EU AI Act and the draft Code of Practice on AI-generated content transparency (currently under finalisation) as a case study of how regulatory frameworks interact with — and depend upon — horizontal governance by media institutions. Third, it addresses the question of transferability: drawing on critical perspectives, the paper asks what conditions must be met for broadcaster-led marking standards to function as genuine shared capacity across diverse institutional and infrastructural contexts.The argument is grounded in a body of emerging literature on AI governance, media self-regulation, and archival provenance standards, and engages directly with initiatives such as the EBU's sovereign AI framework, and the guidelines developed by the Archival Producers Alliance. 

When Reuters News Agency acquired the commercial archive licensing operation Screenocean, it inherited two distinct media asset management (MAM) systems. Maintaining these parallel environments — each shaped by its own metadata schemes, cataloguing practices, and operational workflows — introduced growing risks to preservation, discoverability, rights management, and long‑term sustainability. 
The challenge was twofold: migrating a large, active audiovisual archive while preserving the integrity and context of its assets. This paper outlines the methodologies used to address this challenge, including metadata mapping, risk assessment, and workflow redesign. 
This presentation examines the unification of these MAM environments as a case study in preservation through migration. Although driven by technical necessity, the consolidation was equally an exercise in ensuring continuity of archival stewardship amid organisational and technological change. 
Beyond large-scale asset migration, the paper explores effective approaches to MAM consolidation, including metadata harmonisation, duplication management, and the preservation of contextual and rights information that give archival materials their meaning and value. 
The project offers a practical case study for archives facing merger, restructuring, or infrastructure renewal, highlighting key lessons related to preservation, access, and sustainability. 

This presentation discusses the activation of audiovisual archives through pedagogical and creative practices developed in the Audiovisual Production Workshops at FGV CPDOC (Brazil), which completed ten years in 2024. The workshops are based on one of the largest collections of personal archives in Latin America and promote the production of short films using archival materials as both source and medium.
Since 2023, the workshops have been part of the project “New Perspectives on the Archive: Visuality, Circulation and Education in Women’s Archives” (FAPERJ/CNPq), focusing on women’s histories and the critical re-reading of archival collections. Through a practice-led approach, participants engage with archival documents not only as historical evidence but as material for reinterpretation, montage, and narrative construction.
The presentation examines selected films produced within this framework to explore how archival images are reactivated through editing processes that negotiate between institutional constraints, creative agency, and pedagogical goals. Particular attention is given to the tensions between technical, aesthetic, and ethical dimensions of archival reuse, including issues of visibility, silencing, metadata limitations, and representational bias.
By situating the classroom and the editing room as spaces of research, the paper argues that audiovisual practices can transform the archive from a site of preservation into a dynamic field of interpretation and circulation. In this context, montage becomes a critical operation that not only re-signifies images but also challenges dominant narratives, especially in relation to gender and the historical marginalization of women in archival systems.
The case study highlights how collaborative filmmaking processes can expand archival access, generate new forms of public engagement, and reposition audiovisual archives as active agents in the production of knowledge.

The TV Cultura Documentation Centre (1969) brings together an unusual variety of materials for a TV archive. Cedoc is responsible for implementing preservation, cataloguing, digitization, and dissemination actions for the collection under its care.The first challenge of the Cedoc Modernization Project, which began in 2021, was to separate each media and item, with the goal of safeguarding the originals represented by a vast range of materials to be preserved. The collection contains nearly 1 million items, including documents, props and scene mock-ups, objects and models that make up sets and studio scenery, a pinacotheca with sculptures and paintings from different eras created by artists now recognized for TV program scenery, a technological arsenal for telling the history of TV, up to thousands of open-reel videotapes with recordings of radio stations AM and FM, thousands of videotapes from Quadruplex to the last formats, 16mm films, a photographic collection documenting the history of TV, and the making of hundreds of programs, and a library containing publications used as sources by the TV program production teams.The purpose of this presentation is to show how each sector of Cedoc relates with each other and to current TV production, how the archive is transformed into digital media and reused for new TV productions, and what strategies are used for access and licensing, considering the paradigms of audiovisual archives in the digital age. Also, the implementation of the media asset management, especially when data came from all sorts of databases developed internally, at different times, by the Engineering Department, to support audiovisual content search tools archived in the digital repository.

The rapid obsolescence of analog media and playback equipment represents a critical risk to the preservation of audiovisual archives. This paper presents a large-scale digitization project of Betacam tapes, starting with an initial scope of 50,000 media items, developed as a strategy to mitigate this risk and enhance the value of the collection.
To meet these demands, the FlyPack solution (by company Meta Martis) was adopted, enabling greater efficiency in the digitization workflow, optimized resource usage, and quality control within a high-volume environment. The proposal addresses the technical and operational challenges involved in the mass conversion of analog content to digital formats.
As a result, the project is expected to enrich the archive and expand opportunities for access, use, and reuse of the content. Digitization also paves the way for the application of artificial intelligence, enabling new forms of analysis, organization, and value creation, while fostering future opportunities within the audiovisual ecosystem.

Based on the preliminary survey of the film holdings of the Museu da Imagem e do Som de Campinas (MIS-Campinas), this paper discusses how audiovisual archives within safeguarding institutions are currently strained by material deterioration, technological obsolescence, and new digital regimes of visibility. While photochemical and magnetic formats preserve traces of documentary, educational, amateur, and dissident practices that expanded democratic horizons of audiovisual culture, their survival is threatened not only by physical decay but also by exclusion from contemporary systems of description, circulation, and intelligibility. In this sense, the audiovisual archive is understood not as a mere repository, but as a space of arkhē: an instance of origin, consignation, and power in which it is decided what may be remembered, accessed, and activated in the future.
The research combines survey, identification, cataloguing, cleaning, and remapping of the film collection, approaching these procedures as critical practices of mediation and legibility. The case of MIS-Campinas makes it possible to question the position of local and regional archives in the face of the urgent need to preserve obsolete media while simultaneously building archival networks capable of connecting collections, communities, researchers, and public policies.
The paper argues that the future of these collections depends not only on digitization, but also on safeguarding policies, critical metadata, mediated exhibition practices, and cooperative infrastructures capable of resisting algorithmic standardization and the marginalization of non-hegemonic repertoires. From this perspective, MIS institutions may be rethought as polymorphic museums: hybrid spaces in which archive, exhibition, education, and community are articulated as forms of material, symbolic, and political resistance.

The panel proposes a reflection on preservation and access to films made by women in Brazil, focusing on short films. Nayla Guerra presents a survey of a filmography she compiled, comprising 222 short films directed by 121 women during the Brazilian military dictatorship, and analyzes the importance and challenges involved in recovering these works. Often regarded as a format of less cultural, social, and historical importance, short films tend to receive less attention and are frequently overlooked when decisions are made regarding preservation, restoration, and access initiatives. Many of these works are lost, damaged, or available only in analog formats, making access to shorts made by women during this period particularly difficult.
Next, Carolina Vergotti presents a study on the preservation of these 222 shorts, including the conditions of the films in the Cinemateca Brasileira’s collection, analyzed using the methodologies adopted by the institution. The diagnostic aims to demonstrate the gaps in the collection, the risks faced by some of these films, as well as possible paths for the preservation and access to these works for restoration, research, and diffusion.
Finally, Patrícia Machado introduces a recent initiative she has been leading for the digitization and expanded access to these works. She presents a platform created by her project that provides what she calls the “biographies of films”, making information about the production contexts of these films, how they circulated, which archives hold them, and their preservation conditions accessible. The project also involves digital preservation and access to films that remain forgotten or are undergoing deterioration.
By combining theoretical and practical perspectives, the panel aims to draw attention to the gaps in the representation of women within archival collections and to present possible actions for recovering these works and, consequently, the contributions of women to the history of cinema.

The objective of this presentation is to reflect upon the state of digital preservation in Brazil within both the public and private sectors. This analysis is conducted through two case studies: Empresa Brasil de Comunicação (EBC) and Rede Globo. This work summarizes research compiled for an academic article currently in its final stages of preparation.
Established in 2007, EBC represents the unification of what is estimated to be nine public communication outlets, including TV Brasil. In addition to the television archives produced by the station itself, EBC inherited collections from defunct educational broadcasters: TVE Maranhão, founded in 1969, TVE Rio de Janeiro, created in 1975, and TV Nacional de Brasília, which was inaugurated in 1960. Over its nearly twenty-year history, the company has sought to adapt to technological innovations in the preservation of and access to television archives. Since 2015, EBC has utilized a Media Asset Management (MAM) platform, which enables the digital archiving of raw footage and television programs, as well as the viewing, downloading, and keyword-based searching of assets. This system is gradually replacing the legacy IAcervo platform, which primarily recorded media formats and metadata such as cataloging details, synopses, and production dates. In line with this modernization, the Archives and Research Department implemented a digitization project in 2019 for U-matic (KA) media. These tapes contain some of TVE Rio’s most significant programming, such as Sem Censura, No Mundo da Bola, and Edição Nacional.
Rede Globo, Brazil’s largest broadcaster, was founded in 1965. Its documentation efforts began in 1974 in Rio de Janeiro, though the CEDOC (Documentation Center) department was not officially inaugurated until 1976. The collection is stored on a wide variety of media formats developed over the decades for audio and video storage, ranging from Quadruplex and U-matic tapes to contemporary LTO (Linear Tape-Open) technology. Content that was originally captured on magnetic tape is now captured digitally via binary code; however, this still necessitates storage solutions, whether physical media or virtual environments such as the cloud. Rede Globo has also undergone a significant evolution in its processes, progressing from paper-based cataloging stored in folders to sophisticated computerized systems. Initially, these systems were developed by in-house engineers; subsequently, the company entered into agreements with Dalet, and later Vizrt and DIVA, to outsource these services. Concurrent with this process is the digitization of analog media, generating digital assets that allow for a fully digital production workflow. This transition further facilitates the long-term conservation of original physical documents by reducing the need for repeated handling, as digital versions become the primary point of access. The purpose of this thirty-minute presentation is, therefore, to reflect on the Brazilian preservation landscape through a dialogue between these two distinct institutional experiences.

PAVIC – Audiovisual, Iconography, and Content Researchers is a Nationwide, a nonprofit professional association in Brazil. We were established to raise awareness of and give proper recognition to the research professionals working in cultural, artistic, educational, and entertainment markets.

Founded in January 2022, PAVIC brings together 196 research professionals. As an association, one of our key missions is to promote and strengthen this professional field, as well as to drive improvement and efficiency in the production processes within the audiovisual and cultural sectors, which directly enhances the quality of the final products.

In the audiovisual field, research professionals preserve the memory of the entire production process for films, series, and soap operas. This includes details about the raw materials—such as images, sounds, or characters, which is especially vital when dealing with archival materials.

In ongoing collaboration with audiovisual archive institutions, researchers actively engage in processes of reuse, reinterpretation, and cultural mediation of media collections, helping to preserve and celebrate this important memory.

- Caliche, Nitrate: An Archaeology of Early Chilean Cinema (1897–1907) – Nina Satt Castillo
- The British Entertainment History Project – Susan Margaret Malden
- Cross‑Border Memories: Documenting Michael Dingake and the Regional Dialogues of Southern Africa’s Liberation Struggle – Tshepho Mosweu, Mpho Dintwa
- Animated Egypt: The Moheeb Animation Studio Archive at the American University in Cairo – Stephen Urgola
- Trust and Memory: Addressing the Impact of Generative AI on Audiovisual Archives – Fabio Bedoya
- Audiovisual Preservation in Southern Brazil: Climate Change, Conservation and Access – Louise Ayang Folgiarini, Estela Machado Winter Galmarino, Welington Ricardo Machado da Silva
- Constructing Japanese Immigration in Brazil: the Visible and the Off-Screen – Tomyo Costa Ito
- Televisar la Dictadura: Mediating Television Archives and Collective Memory in the Southern Cone – Diana Harumi Cardozo
- Archives of female hysteria in Brazil: the politics of the gaze and the relationship between patriarchal power and the power of psychiatric hospitals – Gabriela Santos Alves
- FRAME Mentoring 2026 – Meet the mentees – Thomas Monteil
- Preservation: A Digital Dilemma - Creation of the Brazilian Forum of Image and Sound Museums – José Maria Pereira Lopes, Mirele Camargo
- Super-8 Films Reinterpreted: Practice of Preserving Intangible Heritage and Traditional Knowledge – Luzia Gabriela Dantas de Lima Mendes
- Rediscovering portapak 1/2" open reels and equipment in Brazil – Maria Byington
- Artificial Intelligence and audiodescription scripts: tools and perspectives in the Brazilian context – Welinton Vinicius Pereira de Souza

The Expert Roundtables represent a highly participatory element of the conference programme. Designed as small group discussions, they provide an opportunity for professionals from across the audiovisual archiving community to exchange knowledge, reflect on shared challenges, and explore practical solutions on key topics.

All roundtables will take place in parallel. Each discussion is scheduled for approximately 30 minutes, followed by a brief wrap-up within the group, after which participants will rotate to a new table. The overall duration of the session is 60 minutes, allowing attendees to engage in several conversations and benefit from a diversity of perspectives.

If you are interested in moderating one of the Expert Roundtables, stay tuned for a survey we will launch soon.