FIAT/IFTA World Conference 2026

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.

[Simultaneous translation SPA-ENG will be available]

​​​​TVN holds one of the most significant archives in Latin America, preserving the social, political, and cultural heritage of our country through audiovisual records of incalculable value. This archive represents an emblematic case of the destruction of a large part of its collection following the Military Coup in Chile on September 11, 1973. Over the years, it has been recovered and is recognized today for the preserved content that has largely allowed us to reclaim our history as a society and a nation during those years.


Television material (news and programs) kept in the TVN Audiovisual Archive and produced during the Popular Unity government (Salvador Allende) was ordered to be eliminated—including the footage of Pablo Neruda receiving the Nobel Prize in Literature in 1971. However, with a sense of historical protection, these materials were hidden for years until Chile returned to democracy. Their preservation was a risky method during years dominated by institutional violence and uncertainty. Today, we can feel proud and fulfilled in our duty as "guardians of history and memory," because this content has been a fundamental pillar for countless historical recovery programs. These programs have allowed us to recognize ourselves as Chileans, to know who we were and what our society was like before the Military Dictatorship—how cities, inhabitants, urban tribes, and music have changed.


During difficult times, one way to protect the archive content marked for elimination was to remove the cards from the manual catalog that detailed the material. We created minimal descriptions of images documenting protests against Augusto Pinochet’s dictatorial regime in the 1980s. The cataloging systems for this new material were insufficient, or their context had been lost. It was a slow and costly task, making it difficult to reconstruct the moments they were recorded. We had to conduct extensive research to re-catalog this material, searching through newspapers and frequently consulting the memory of journalists for accurate descriptions. It was only then—at a time when it was finally possible to speak of human rights, political violence, or detained-disappeared persons—that we truly grasped the importance of having preserved those images. This process was necessary to establish how events unfolded in accordance with history.
The digitization process of this Archive began in 2010 with a planned ingestion project tailored to our needs and our commitment to the social role of the archive, which is part of the Audiovisual Heritage of TVN, Chile's public television.
It is important to highlight the work of librarians and journalists in re-cataloging content from those dictatorial times, when language was tightly controlled, and beginning to use a new language that accurately described what the images showed regarding Human Rights, violence, repression, and detained-disappeared persons.
With the help of digitization, we have set the fundamental task of increasing data collection to improve user-centered planning for this archive. We continue to move forward with the ingestion of historical content, solving daily the challenges posed by such old materials and formats that are increasingly difficult to rescue, but which contain valuable content reflecting the lives of Chileans during a specific era.


The commitment the Archive assumes toward history and the collective memory of a country is remarkable: without archives, there is no memory, and when we speak of memory, we are speaking of preservation.


Our mission as the Archive of Chilean Public Television is to preserve the audiovisual heritage that belongs to all Chileans. It is within this mission that we have focused our work to fulfill the challenge and dream of making the content archived and preserved for over 55 years available to all of Chilean society.


Finally, I believe that a great "vision for the future" will mark our path as archivists, allowing us to fulfill our mission of preserving images as a reflection of our society's history, ensuring that through them, memory can reconstruct the life lived.

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.

[Simultaneous translation SPA-ENG will be available]

The project aims to rescue and to put into value the oldest surviving sound newsreels in Chile. Because they are in 35mm nitrate film, they are inaccessible to the public due to the lack of other film or digital copies. To achieve these objectives, the project includes the following stages: cleaning and physical restoration, 4K digitization, detailed cataloging, backup on LTO-9 tapes, and online publication via the Chilean National Film Archive's platform. These actions will allow for the registration, inventorying, and documentation of a valuable historical heritage collection, ensuring its long-term preservation and future availability for public use.


The collection of sound newsreels produced by the state-owned company Chile Films between 1944 and 1949 constitutes a valuable social, economic, and cultural record of Chile in the 1940s. These images and sounds are practically unknown to current generations, making their rescue, enhancement, and preservation essential for Chileans (and the world at large) to discover and to enjoy them. Because they were filmed nearly 80 years ago, the original film stock is now very fragile (nitrate film can spontaneously combust and, over time, becomes cloudy, making recovery impossible). Therefore, their digitization and transfer to more stable formats that allow for their preservation and dissemination are urgently needed.

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.

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.

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.

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.

[Simultaneous translation SPA-ENG will be available]

This presentation reflects on how a practical archival task inside a Uruguayan television broadcaster evolved, over sixteen years, into a knowledge-driven system for managing, contextualising and reusing audiovisual memory.
The project began in 2010, when I was assigned the recovery of a historical television archive using only handwritten paper notebooks as the primary access tool. At the same time, much of the collection still existed on ageing analogue and early digital videotape formats (1-Inch Tape, U-Matic). To make the material accessible, I had to learn through experimentation how to clean, restore and digitise playback machines that were already several decades old.
Coming from a generation that experienced both analogue video culture and the first stages of digital editing, I combined broadcast operational knowledge with self-taught experimentation. Early attempts using Word documents and spreadsheets quickly proved insufficient for the speed and precision required in daily television production. This operational pressure led me to begin learning programming and databases in order to recreate the logic of the paper workflow in digital form: locating content quickly, identifying the correct tape, and later the precise timecode inside the material, find actors etc.
As newsroom demands increased, the system evolved continuously through real-world use, driven by requests from colleagues who relied on rapid access to historical footage. Even after the archive department was closed in 2020, the project continued independently, incorporating long-term preservation logic, production workflows, contextual metadata, artificial intelligence support and large-scale efficiency testing using a personal dataset of more than one million media assets collected over years of archival practice.
This case study explores how necessity, situated learning and broadcast reality can generate technological innovation from within archival work itself.
That's my story.

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.

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

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 presentation proposes a case study of data.ina.fr, a public platform developed by INA to unlock the potential of audiovisual archives by transforming them into long-term, interpretable data about media coverage in France. Rather than focusing on individual archive items or editorial reuse, data.ina.fr introduces a new paradigm: archives as a source of structured evidence that allows society to observe, compare, and understand media narratives over time. 
The platform analyses nearly two million hours of television and radio broadcasts from twenty French channels over a ten-year period (2015–2026). Through a set of interactive visualisations, it enables users to explore how current affairs are treated by media : which personalities dominate media attention, how territories are represented, how language evolves, and how gender balance in airtime varies across channels and years. This long-term, quantitative perspective put the spotlight on trends that are impossible to grasp through manual consultation of archives alone. 
data.ina.fr is grounded in two founding principles. First, to give meaning to archival collections beyond the archive object itself, by extracting indicators that allow comparison, verification, and contextualisation. Second, to create a tool for the objectivation of information over time, capable of supporting journalism, research, education, and public debate. In this sense, the project positions archives not only as heritage, but as a living public resource. 
This approach has made data.ina.fr a reference tool for professionals. Journalists from major national media regularly use the platform to support investigations, contextualise breaking news, and produce data-driven storytelling grounded in archival evidence. It is also integrated into journalism education, where it serves as a practical resource for teaching investigative methods based on quantitative analysis of media content. Beyond journalism, researchers in linguistics, political science, marketing, and public policy use the platform to analyse media representations and agenda-setting dynamics. 
Internally, data.ina.fr has transformed INA’s own editorial practices. Journalists rely on it to investigate issues such as gender-based violence, foreign interference campaigns, disinformation strategies, or media concentration. Monthly publications such as the data.ina.fr News Barometer provide recurring indicators on parity, territorial coverage, and dominant narratives, reinforcing INA’s role as a trusted public media actor capable of objectifying the media treatment of current affairs. 

The National Archives of Singapore (NAS) holds one of Southeast Asia's most significant collections of audiovisual heritage — spanning audio recordings, video, and film, including uniquely Singaporean collections such as the Educational Television Series (ETS), a collection of home movies documenting everyday life, and SoundscapeSG — an irreplaceable record of the nation's sonic environment.

Managing digitisation across three format domains, each with its own technical requirements, presented a considerable challenge: how to establish standardised workflows without losing the specialist expertise each format demands.

A particular focus will be placed on the film workflow, developed in close collaboration with NAS archivists. Their domain expertise shaped workflows that are sensitive to the specific preservation challenges these materials present.

Another challenge is posed by a subset of donated materials that had suffered considerable decay under tropical climate conditions before reaching the archive — requiring workflows flexible enough to accommodate varying states of preservation.

This presentation describes the collaboration between NAS and Cube-Tec, a specialist provider of digitisation workflow software, to implement a unified solution covering audio, video, and film. Speaking from both perspectives — archive and vendor— we trace how the project unfolded: from requirements analysis and workflow design to practical implementation.

We also look ahead: how the workflows at NAS point towards scalable, future-ready approaches and the integration of emerging technologies for sustainable digitisation practice.

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.

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 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 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.

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. 

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

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.