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.

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.

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.

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.

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.

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.

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.

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.

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.