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.

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.

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.

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

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 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.

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.