BEGIN:VCALENDAR VERSION:2.0 X-WR-CALNAME:fiatiftaworldconference2026 X-WR-CALDESC:Event Calendar METHOD:PUBLISH CALSCALE:GREGORIAN PRODID:-//Sched.com FIAT/IFTA World Conference 2026//EN X-WR-TIMEZONE:UTC BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T123000Z DTEND:20261006T140000Z SUMMARY:FIAT/IFTA Executive Council Meeting (Part 1) DESCRIPTION:\n CATEGORIES:PRE-CONFERENCE LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:394e9066481394fc271ed25aac651eed URL:http://fiatiftaworldconference2026.sched.com/event/394e9066481394fc271ed25aac651eed END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T140000Z DTEND:20261006T143000Z SUMMARY:Morning Break (EC Only) DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Cinemateca Brasileira SEQUENCE:0 UID:176113fc4386d875e81c705fbb860544 URL:http://fiatiftaworldconference2026.sched.com/event/176113fc4386d875e81c705fbb860544 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T143000Z DTEND:20261006T160000Z SUMMARY:FIAT/IFTA Executive Council Meeting (Part 2) DESCRIPTION:\n CATEGORIES:PRE-CONFERENCE LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:e10ea23435f246cf0c6541e2d15614a2 URL:http://fiatiftaworldconference2026.sched.com/event/e10ea23435f246cf0c6541e2d15614a2 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T160000Z DTEND:20261006T173000Z SUMMARY:Lunch Break (EC Only) DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Cinemateca Brasileira SEQUENCE:0 UID:9f958c296a2ffc2ec5096c7c623992e3 URL:http://fiatiftaworldconference2026.sched.com/event/9f958c296a2ffc2ec5096c7c623992e3 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T173000Z DTEND:20261006T193000Z SUMMARY:MMC Meeting DESCRIPTION:\n CATEGORIES:PRE-CONFERENCE LOCATION:Library Room\, Cinemateca Brasileira SEQUENCE:0 UID:189b4232a34d94ce6991e112e6db3027 URL:http://fiatiftaworldconference2026.sched.com/event/189b4232a34d94ce6991e112e6db3027 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T173000Z DTEND:20261006T193000Z SUMMARY:MSC Meeting DESCRIPTION:\n CATEGORIES:PRE-CONFERENCE LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:1511944ad40a358bf818c203c059a45b URL:http://fiatiftaworldconference2026.sched.com/event/1511944ad40a358bf818c203c059a45b END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T173000Z DTEND:20261006T193000Z SUMMARY:PMC Meeting DESCRIPTION:\n CATEGORIES:PRE-CONFERENCE LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:34ae198efa03ecc6eb5d49c3d1ddb68c URL:http://fiatiftaworldconference2026.sched.com/event/34ae198efa03ecc6eb5d49c3d1ddb68c END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T173000Z DTEND:20261006T193000Z SUMMARY:VUC Meeting DESCRIPTION:\n CATEGORIES:PRE-CONFERENCE LOCATION:Administraçao Room\, Cinemateca Brasileira SEQUENCE:0 UID:044c335a3dbcf65258221d12de4368d7 URL:http://fiatiftaworldconference2026.sched.com/event/044c335a3dbcf65258221d12de4368d7 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T193000Z DTEND:20261006T210000Z SUMMARY:Ethical Challenges in Broadcasting Archives DESCRIPTION:The FIAT/IFTA Value Use and Copyright Commission has since the last world conference in Rome 2025 worked on a project about ethical considerations in broadcasting archives. The project was initiated at the conference by a round table discussion with some of the following subjects: \;\n* Opening Databases to the Public\n* Re-Publishing Biased or Offensive Archival Content\n* Preservation of Metadata and Historical Integrity\n* Need for Institutional Guidelines CATEGORIES:PRE-CONFERENCE LOCATION:Library Room\, Cinemateca Brasileira SEQUENCE:0 UID:a03d62733f793cd5451a767d8d871248 URL:http://fiatiftaworldconference2026.sched.com/event/a03d62733f793cd5451a767d8d871248 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T193000Z DTEND:20261006T210000Z SUMMARY:Leadership in audiovisual archives in Latin America: our own set of skills DESCRIPTION:The purpose of this panel is to open a discussion on the skills required by audiovisual archive leaders in Latin America.\n\nThe objective is to explore\, together with leaders of institutional\, official\, non-official\, community\, activist\, and self-managed archives\, how the "profile" of an audiovisual archivist is constructed in our region and what specific skills we have had to develop in accordance with our divergent realities and the influence of the current political and social climate and governments.\n\nThe panel will propose a dialogue based on a series of guiding questions\, in which we could involve people with long careers as well as new leaders who can provide feedback on how they have integrated into the dynamics of our field\, how the profession has (or has not) become professionalized\, how we relate to best practices in the Global North\, and how we communicate and educate our audiences and communities of interest about audiovisual archives. The objective of the dialogue could be\, in a complementary way\, the creation of a poster to be shared collectively\, where we can recognize ourselves and enhance those characteristics that define audiovisual archivists in our region. CATEGORIES:PRE-CONFERENCE LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:67c04d1f171500cf290439899bd0b55b URL:http://fiatiftaworldconference2026.sched.com/event/67c04d1f171500cf290439899bd0b55b END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T193000Z DTEND:20261006T210000Z SUMMARY:Not just storing memory: The responsibilities of Archives in sensitive collections management DESCRIPTION:Audiovisual archives are increasingly confronted with ethical\, social\, and technical challenges when documenting traumatic\, community-based and/or marginalised histories. This two‑hour participatory workshop explores how archive services can engage responsibly with these sensitive materials while fostering more inclusive and community‑centred practices.\nDesigned as a World Café\, the session invites participants to rotate across thematic tables\, each guided by an expert moderator and introduced by a short case study highlighting key dilemma and approach.\nExamples will frame the collective discussion and encourage participants to reflect on the diversity of archival contexts and methodologies. Together\, participants will identify concrete actions linked to three essential dimensions:\nPublics and mediation: strategies for contextualising sensitive materials\, involving communities in shaping narratives\, and supporting inclusive authorship of shared histories.Witnesses and co‑creation: ethical engagement with contributors and survivors\, including methods for their protection and empowerment\, and collaborative production of archival content.Collections and archival practice: improving discoverability of sensitive collections\, addressing descriptive biases\, and examining both the potential and risks of AI in the management of marginalised archives.Bringing together contributors from varied regions\, institutional traditions\, and professional backgrounds\, from national heritage institutions to grassroots archival initiatives\, the workshop aims to foster a plural\, global\, and practice‑oriented exchange.\nA final plenary will synthesise insights from all tables and outline a shared set of recommendations to support more ethical\, inclusive\, and community‑centred approaches within audiovisual memory institutions. CATEGORIES:PRE-CONFERENCE LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:150003e15d07e9b58727c4b5ec948b7a URL:http://fiatiftaworldconference2026.sched.com/event/150003e15d07e9b58727c4b5ec948b7a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T193000Z DTEND:20261006T210000Z SUMMARY:The Fiat IFTA Think Tank for Education in Future Skills and Consolidation of Shared Knowledge DESCRIPTION:Sub-Title: Building Together the Future of The Profession\n\n\nIn response to rapid changes in the audiovisual archive and media profession\, the FIAT/IFTA is working on the project of a Think Tank for education in future skills and consolidation of shared knowledge.\n \;\nAs a matter of fact\, technological transformation\, automation and digital workflows are reshaping roles\, skills and professional identities\, while some traditional knowledge - especially related to analogue and manual practices - is at risk of being lost.\n \;\nThe Think Tank missions are to:\nMonitor global trends affecting the profession.Anticipate skills gaps and emerging needs.Act as a strategic observatory for professional evolution in audiovisual archives and related fields.To carry out these missions\, it should actively establish and strengthen alliances and partnerships\, and ensure diversity of expertise\, professional backgrounds and geographic representation through a dedicated governance. \;\nIt will then launch its first activities\, at the service of the professional community.\n \;\nThis Discussion panel aims to \;present and discuss emerging talking points and invite the audience to add to our story\, through interactive polls.\n \;\nIt will bring together 4 participants (names to be confirmed):\nA representative of the FIAT/IFTAA representative of the training and education sectorA representative of a broadcast/film archive of the south american regionA representative of a regional archive holding TV\, Radio and/or Film collectionsIf possible\, we think that a plenary session would allow to highlight the need for ongoing education on all levels in archives\, no matter the size and scope. CATEGORIES:PRE-CONFERENCE LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:1a752a75af9030dce3fa246f83b055c9 URL:http://fiatiftaworldconference2026.sched.com/event/1a752a75af9030dce3fa246f83b055c9 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261006T210000Z DTEND:20261006T223000Z SUMMARY:Welcome Reception DESCRIPTION:\n CATEGORIES:SOCIAL EVENTS LOCATION:Cinemateca Brasileira SEQUENCE:0 UID:74a734cd40d805400dbe30960aafc69d URL:http://fiatiftaworldconference2026.sched.com/event/74a734cd40d805400dbe30960aafc69d END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T113000Z DTEND:20261007T123000Z SUMMARY:Newcomers Breakfast DESCRIPTION:\n CATEGORIES:SOCIAL EVENTS LOCATION:Oscarito Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:a628e657ffd6cce5d807a3b2257fb35e URL:http://fiatiftaworldconference2026.sched.com/event/a628e657ffd6cce5d807a3b2257fb35e END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T123000Z DTEND:20261007T130000Z SUMMARY:Opening Session DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:56ce3d7f6dd761b1d0f2ad1bc938272d URL:http://fiatiftaworldconference2026.sched.com/event/56ce3d7f6dd761b1d0f2ad1bc938272d END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T130000Z DTEND:20261007T140000Z SUMMARY:Keynote #1 DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:2ca4c8aaf2707c20c6f2fa101c908526 URL:http://fiatiftaworldconference2026.sched.com/event/2ca4c8aaf2707c20c6f2fa101c908526 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T140000Z DTEND:20261007T143000Z SUMMARY:Morning Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:d7e16333b7575eed15140ab39ca0ff37 URL:http://fiatiftaworldconference2026.sched.com/event/d7e16333b7575eed15140ab39ca0ff37 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T143000Z DTEND:20261007T150000Z SUMMARY:Enhancing Safe Reuse of Archival Footage: NHK’s MCG Reuse Advisor Model and Supporting Tools DESCRIPTION:NHK preserves more than 10 million items of program and news footage\, and many older materials lack sufficient metadata due to past production practices. Missing metadata makes it difficult to locate footage\, verify rights\, and identify elements that may be perceived as problematic today. This is a challenge faced by archives worldwide. NHK’s primary solution to this issue is the MCG (Multi-use Contents Group) Reuse Advisors\, a specialized team that ensures safe and responsible reuse of archival footage.\nThe MCG Reuse Advisors conduct detailed reuse risk management\, including rights investigation\, tracing original production staff when records are incomplete\, and reviewing whether footage may cause misunderstanding or discomfort from a contemporary perspective. When the original material is unsuitable\, they recommend safer alternatives. In 2025\, the team handled more than 1\,500 inquiries\, demonstrating its essential role in supporting production teams and maintaining responsible editorial practice.\nIn addition to this core workflow\, NHK has recently introduced AI Metadata-less Search\, a tool that allows users to retrieve visually relevant shots by typing simple words such as “cat\,” “grilling meat\,” or “airplane.” While this AI system is not the main focus of our proposal\, it increasingly supports the MCG and producers by improving discoverability—especially for metadata-poor footage—and helping teams find potential alternatives more efficiently.\nAlthough the MCG Reuse Advisors remain the central decision-makers\, the combination of expert human judgment and new technical tools contributes to a more reliable and efficient reuse process. This presentation will focus on NHK’s MCG framework\, share case examples\, and briefly introduce how emerging tools like AI search can complement\, but not replace\, expert evaluation. Together\, these efforts illustrate a practical model for responsible reuse in diverse archival environments. \; CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:293782eda268457bec9c9df0f31ffe24 URL:http://fiatiftaworldconference2026.sched.com/event/293782eda268457bec9c9df0f31ffe24 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T143000Z DTEND:20261007T150000Z SUMMARY:The Human-Centric Archive: Scaling Intelligence through the Globo Mídia Project DESCRIPTION:In the high-pressure environment of major broadcasting\, the demand for archival media is defined by speed\, precision\, and instant availability. At Globo\, managing decades of rich audiovisual heritage across Journalism\, Sports\, and Entertainment requires a constant evolution of archival strategies. The Globo Mídia project represents the latest strategic leap in this journey\, designed to amplify the reach and agility of our media ecosystem through advanced data structures.\n\n\nThe core of Globo Mídia lies in the implementation of ontologies that structure vast amounts of media data\, providing a unified semantic language across the company. This framework provides the necessary context for AI-driven initiatives\, ensuring that technology acts as a powerful ally in metadata extraction and information retrieval. By creating these intelligent connections\, Globo Mídia ensures high-speed discovery and accuracy\, even in the most demanding and time-sensitive production scenarios.\n\n\nThe ultimate goal of this technological advancement is to liberate the researcher’s eye. By using the Globo Mídia ecosystem to automate mechanical indexing and repetitive tagging\, we empower our specialists to transcend labor-intensive tasks. This shift allows the human researcher to focus entirely on their role as a strategic content partner and curator\, applying historical sensitivity and deep creative insight to the development of new products.\n\n\nAt Globo\, we believe that technology should handle the scale and complexity of the data so that human intelligence can drive the storytelling. We will demonstrate how Globo Mídia bridges the gap between massive archival collections and high-demand production needs\, ensuring that our historical assets are instantly accessible to fuel future creativity and narrative excellence. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:feb738897e197700a99d3d60f8017541 URL:http://fiatiftaworldconference2026.sched.com/event/feb738897e197700a99d3d60f8017541 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T143000Z DTEND:20261007T150000Z SUMMARY:Unearthed Archives: AI-mediated Cataloguing\, Memory and Reuse of Early 20th-Century Film Footage DESCRIPTION:Early 20th-century archaeological expeditions produced a rich body of visual material: film footage\, field photographs\, lantern slides documenting landscapes\, excavation methods and cultural contexts. Dispersed across museums\, university libraries and national film archives\, these film collections remain difficult to discover\, cross-reference or integrate into contemporary research. This presentation reports on an ongoing project that applies AI techniques to support descriptive cataloguing and access in digitized early film archives.\nThe project centers on a corpus of records from institutions in Europe and North America. Using vision language models\, it explores how AI-assisted workflows help integrate contextual metadata\, including site\, estimated date ranges\, artefact types. The presentation goes through opportunities and challenges of existing models trained on modern visual conventions that differ from historical image quality\, aesthetic and stylistic composition. It observes how black-and-white historical footage with inconsistent framing and labels requires domain-specific approaches\, and which solutions can be envisaged to preserve the richness of early audiovisual information.\nBeyond cataloguing\, the presentation examines how automated archival description affects and transforms cultural memory. Text matches and visual similarity now allow researchers to reconstruct early film sequences across archives and curate thematic collections that reframe and reposition our understanding of historical events. The paper reflects critically on the digitization of early footage and its entanglements with automation: which screen memories can machines unlock?\nBy sharing epistemological reflections on early documentary film culture\, this presentation aims to contribute to broader conversations in the FIAT/IFTA community about the responsible integration of AI into archival workflows and the renewed relevance of historical film collections as forms of cultural mediation. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:df2bcce4a126098e5918300679264dea URL:http://fiatiftaworldconference2026.sched.com/event/df2bcce4a126098e5918300679264dea END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T150000Z DTEND:20261007T153000Z SUMMARY:Contextual Search in Globo’s Archive: A Proof of Concept with Google Vision Warehouse at the 2025 Club World Cup (Presentation in Portuguese) DESCRIPTION:\nDuring the 2025 Club World Cup\, Globo’s Archive department\, in partnership with the Sports Editorial team\, conducted a proof of concept (PoC) using Google Vision Warehouse to explore new possibilities for content discovery and usage in live production environments.\n \;\nThe initiative focused on evaluating how artificial intelligence can transform the way content is retrieved and utilized in sports journalism and live broadcasting.\n \;\nBy leveraging automated video processing\, the solution was able to interpret specific contexts and situations within the footage. This enabled a shift from traditional keyword-based searches to a contextual approach\, significantly expanding the scope of content discovery.\n \;\nIn practice\, the Sports team gained the ability to access content through contextual queries—such as specific game situations\, crowd behavior\, or visual elements—even when this information had not been previously indexed in the metadata. This new model increased the speed of content retrieval\, added depth to editorial coverage\, and enabled the discovery of previously underutilized assets.\n \;\nThe PoC demonstrated the strategic potential of AI within the Archive\, making content more accessible\, reusable\, and relevant across diverse editorial contexts.\n\n CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:38d09beeba036899d06fab70f3c19f02 URL:http://fiatiftaworldconference2026.sched.com/event/38d09beeba036899d06fab70f3c19f02 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T150000Z DTEND:20261007T153000Z SUMMARY:From Data Preparation to Public Access: Building and Launching Sound & Vision’s Mass-Scale Audiovisual Platform for the General Public DESCRIPTION:This presentation will reflect on the full trajectory from data preparation to public launch\, culminating in the go-live of the Treasury Chamber mid 2026. \;We will share initial user responses and usage patterns\, examining whether they aligned with expectations formed during development or revealed unforeseen behaviors and needs. In doing so\, we aim to provide insight into how large-scale data transformation\, ethical decision-making\, and real-world user engagement intersect in the creation of a cultural heritage platform.\n2 years ago in Bucharest\, Sound & Vision presented its preparations for the mass-scale publication of audiovisual collections\, supported in part by the EU Copyright Directive and its provisions for making out-of-commerce works accessible online. At that stage\, the focus lay primarily on large-scale data processing: analyzing metadata quality\, streamlining rights information\, and implementing workflows to support sustainable data management and clearance activities.\nIn the past years\, this preparatory work evolved into a series of concrete decisions about how data should be transformed\, enriched\, and ultimately presented to end users. This included choices about metadata normalization\, contextual enrichment\, and the balance between completeness and usability in the user interface. Particular attention was paid to how archival data—often complex\, inconsistent\, or incomplete—could be made accessible and meaningful without oversimplifying its context.\nAlongside these technical and design considerations\, ethical questions played a role. Decisions had to be made about what material could and should be published online\, how to handle sensitive or potentially problematic content\, and how to responsibly represent historical records in a public-facing environment. These considerations influenced not only rights clearance workflows but also data presentation strategies and access conditions within the platform.\nTo support collaboration between Sound & Vision and its external development partner\, user archetypes were used to align discussions around user needs and expectations. However\, also a very driver of development remained the data itself: its structure\, limitations\, and potential for reuse. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:034d6f2e6b80b0596d4ca2b942b15105 URL:http://fiatiftaworldconference2026.sched.com/event/034d6f2e6b80b0596d4ca2b942b15105 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T150000Z DTEND:20261007T153000Z SUMMARY:SRTV: Preservation\, dissemination and reuse of images of Brazilian cinema and TV DESCRIPTION:Between 1976 and 1980\, the Radio and Television Department (SRTV) of the now-defunct Embrafilme - the state-owned company active in film production and distribution between 1969 and 1990 - produced\, with the aim of promoting local cinema\, two weekly programs\, \;Cinemateca \;and \;Coisas Nossas\, broadcast on TV Educativa in Rio de Janeiro\, as well as medium-length documentaries designed for television. \;Cinemateca \;featured reports on the vibrant film activity in the country\, especially in Rio de Janeiro\, bringing together testimonies from filmmakers\, actors\, researchers\, technicians\, and audiences\, along with behind-the-scenes footage and festival coverage. \;Coisas Nossas\, in turn\, was dedicated to the full screening of short films\, accompanied by presentations and discussions.\nThe collection preserved by the Centro Técnico Audiovisual (CTAv) consists of 63 complete programs on U-matic tapes\, as originally broadcast on television\, in addition to film materials and audio tapes\, including approximately 620 raw and leftover materials\, mostly original 16mm reversal film stock with magnetic sound. The collection\, which includes more than 3500 items\, is currently being organized and cataloged by the CTAv team in partnership with the Audiovisual Historiography Research Group at Universidade Federal de Juiz de Fora (UFJF). The project has also resulted in the production of a documentary\, currently in the editing phase.\nCTAv began the process of digitizing the film materials in 2011. The content\, gradually made available for free on CTAv’s social media platforms\, has been used by researchers as well as documentary filmmakers\, re-signifying and critically reexamining images created decades ago\, when the relationship between the State and cinema in Brazil was radically different from that of the 21st century. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:e476aeb654bad77ac04c2a732b5a3bda URL:http://fiatiftaworldconference2026.sched.com/event/e476aeb654bad77ac04c2a732b5a3bda END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T153000Z DTEND:20261007T160000Z SUMMARY:From Paper Notebooks to Contextual Intelligence: How Archival Necessity Led to a Broadcast Knowledge System DESCRIPTION: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.\nThe 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.\nComing 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.\nAs 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.\nThis case study explores how necessity\, situated learning and broadcast reality can generate technological innovation from within archival work itself.\nThat's my story. CATEGORIES:COMMON LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:df46ff7adbf7868f58d36487cb5da459 URL:http://fiatiftaworldconference2026.sched.com/event/df46ff7adbf7868f58d36487cb5da459 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T153000Z DTEND:20261007T160000Z SUMMARY:Multimedia Processing to Resist Would-Be Archival Absence: Platform\, People\, and Languages DESCRIPTION:Many waves in technology development are stories of powerful entities becoming more powerful.  \;However\, our work with audiovisual archives aims technology development along an alternative trajectory: rather than reinforcing the global monoculture\, preserving the diversity of human experience and reducing the risk that less that less visible communities are absent from the historical record.\n\n\nIn this presentation\, we describe work that follows this alternative trajectory to address such “archival absences". First\, we introduce the CLAMS platform for computational processing of audiovisual archives. CLAMS is an open-source software designed to operate on modest\, local hardware\, permitting data sovereignty. With this computational context\, we present two case studies from the collaboration between archivists at the American Archive of Public Broadcasting and researchers at Brandeis University on using technology to repair archival absences. \; \;\n\n\nThe first case study focuses on cataloging items in broadcast television archives\, demonstrating a multi-stage AI processing pipeline used by archivists to surface lesser-known individuals who appeared in old broadcast television programs in order to enrich metadata and improve discoverability.\n\n\nThe second case study focuses on linguistic absence and diversity. While ASR systems such as Whisper yield high quality transcripts of speech in high-resource languages\, these systems offer no benefit for the unsupported languages and even produce misleading and nonsensical outputs. We present ongoing work on language identification for multilingual broadcast content\, focusing on indigenous languages such as Yupik and Samoan. This includes challenges in segmentation\, annotation\, and evaluation\, as well as the design of annotation workflows in collaboration with community experts.\nThese case studies illustrate how computational tools\, when designed in collaboration with archivists and communities\, can support more inclusive and representative audiovisual archives.  \;We close the presentation with an invitation to consider other sources of archival absence that can be resisted through creative collaborations between archivists and AI. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:441c58dbda04274f1b79a1104b99c00f URL:http://fiatiftaworldconference2026.sched.com/event/441c58dbda04274f1b79a1104b99c00f END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T153000Z DTEND:20261007T160000Z SUMMARY:MY BALKAN(S): Unlocking Audiovisual Heritage in the Western Balkans DESCRIPTION:This proposal presents a mid-term field report from My Balkan(s)\, a multi-year cooperation programme funded by the French Ministry for Europe and Foreign \;Affairs and \;reflects on the conditions that enable audiovisual heritage to be unlocked in complex regional contexts. \;\nThe project brings together broadcasters and archives across the Western Balkans to strengthen preservation practices\, shared \;methodologies \;and responsible access to audiovisual heritage. At this halfway point\, the programme offers rich and operational lessons on coordination\, trust-building \;and evidence-based decision-making insights. \;\nAcross the Western Balkans\, broadcasters and memory institutions are navigating urgent decisions about carriers\, technological gaps\, metadata inconsistencies\, \;preservation \;infrastructures \;and access rights and \;all in all\, limited resources and restraints while working with diverse organisational capacities and regulatory contexts. \; \;\nThese situations highlight key tensions between harmonisation and diversity\, cooperation and institutional constraints\, and access ambitions and rights management frameworks. \;\nThe region \;remains \;a  \;  \; sensitive geopolitical region\, where unresolved post-Yugoslav tensions\, fragile state institutions and recurrent crises continue to shape the political landscape. Beyond these differences\, the project increasingly reveals \;a strong foundation \;of shared practices and common heritage across the region. Having evolved within a historically interconnected space over centuries\, most institutions also preserve audiovisual collections that were created within the same state framework of former Yugoslavia. This shared archival legacy not only reflects a common past\, but also constitutes a concrete basis for cooperation\, \;interoperability \;and mutual understanding in the present. \;\nThese dynamics have direct implications for audiovisual archives\, particularly in relation to cross-border collaboration\, rights management\, and the circulation of materials and data. \;\nAt the same time\, the region is the object of competing external influences from the EU\, Russia\, \;China \;and \;Turkey\, making cooperation projects like My Balkan(s) both strategically valuable and operationally delicate. \;\nAs part of the My Balkan(s) project funded by the French Ministry for Europe and Foreign Affairs\, this mid-term panel offers three grounded field perspectives that illustrate how diversity can be transformed into structured cooperation and shared progress and how cultural projects give substantial space to overcome political tensions. \;\nThese perspectives reflect different but complementary functions within the cooperation process\, showing how coordination\, mediation and analytical tools contribute to structuring collaboration across diverse contexts. \;\n-RTS (Serbia) as Regional Coordinator \;\nRTS provides technical and organisational support to partners\, helps define shared documentation practices\, and pilots a working model for regional memory collaboration. \;\n-INA (France) as Trusted Third Party \;\nINA contributes neutral facilitation\, methodological frameworks and governance models that reduce risk\, harmonise terminologies\, and help translate pilot experiments into replicable workflows. The trusted-third-party posture enables partners to align on rights\, \;ethics \;and sustainable operational choices. \;\n-Matières Premières (France) as \;Heritage \;Analyst \;\nThrough comparative analysis of the participating collections\, the team \;identifies \;patterns of risk\, selection \;priorities \;and value opportunities. Lightweight analytical tools help partners make evidence-based decisions on digitisation\, platform design\, and editorial uses without over-engineering processes. \;\nTogether\, the speakers will present successes\, obstacles\, and practical tools adopted by the team to encourage building trust to achieve operational results. The session demonstrates how trust\, coordination and situated analysis can turn structural and cultural diversity into long-term capacity for preservation\, access and public value. This convergence of situations makes it possible to develop approaches and practices within the project that are not only locally relevant\, but transferable and applicable across the different archives. It also demonstrates how collaborative work enables partners facing comparable challenges to overcome political frontiers by working on common issues and interests. \; CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:4e42809faa84c1a8a7c8ee43bba98f4c URL:http://fiatiftaworldconference2026.sched.com/event/4e42809faa84c1a8a7c8ee43bba98f4c END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T160000Z DTEND:20261007T170000Z SUMMARY:Lunch Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:9472175952aa04f95fefa1f1c775c349 URL:http://fiatiftaworldconference2026.sched.com/event/9472175952aa04f95fefa1f1c775c349 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T170000Z DTEND:20261007T180000Z SUMMARY:Meet the Sponsors – Gold DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:d9a9c1071478616c7d0d60635c99ff26 URL:http://fiatiftaworldconference2026.sched.com/event/d9a9c1071478616c7d0d60635c99ff26 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T180000Z DTEND:20261007T183000Z SUMMARY:FIAT/IFTA Initiatives: Timeline Survey Results DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:3ece6b6ff1428e8824859eeb7e96d40b URL:http://fiatiftaworldconference2026.sched.com/event/3ece6b6ff1428e8824859eeb7e96d40b END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T183000Z DTEND:20261007T190000Z SUMMARY:Afternoon Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:6232bda86c896c907527e694f25d5c2d URL:http://fiatiftaworldconference2026.sched.com/event/6232bda86c896c907527e694f25d5c2d END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T190000Z DTEND:20261007T193000Z SUMMARY:Post-apartheid audiovisual archives in the National Archives of South Africa: retrospective local community experiences\, memories and reflections of the struggle for democracy in South Africa DESCRIPTION:Although local community experiences of the struggle leading up to democracy in South Africa are well documented\, there is limited research on retrospective reflections regarding that time in the post-apartheid era. This study explores a body of audiovisual archives created by members of a local community in a 2024 art-creation event at the National Archives of South Africa. These depict experiences and memories of local people as they looked back on the struggle and are preserved in the archive’s collection.  \;The analysis of the audiovisual archives contextualises local community experiences as part of the attempt to construct their hitherto under-represented post-apartheid narrative for the purpose of historical continuity. It showcases the outcome of an active people-centred method to encourage and facilitate the creation of audiovisual archives in reclaiming cultural heritage as a tool of community engagement\, resilience and resistance. This investigation reveals how community experience can generate audiovisual archives reconstruction of past experiences and memory and potentially lead to future healing.  \; CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:283b2e1be89cd0bd8fefef8e52edf677 URL:http://fiatiftaworldconference2026.sched.com/event/283b2e1be89cd0bd8fefef8e52edf677 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T190000Z DTEND:20261007T193000Z SUMMARY:Rediscovering the News: Research and Preservation of TV Tupi Newscasts at the Brazilian Cinematheque DESCRIPTION:Since 2023\, a team of researchers\, technicians\, and fellows has been developing a project titled \;“Audiovisual\, History and Preservation: The Place of Brazilian Newsreels and Television Reports in the Construction of Memory (1946–1974)”\, coordinated by Eduardo Victorio Morettin (ECA-USP) and funded by FAPESP (grant no. 2022/06032-0).\nThe project examines\, in the context of Brazil’s democratic period and the civil-military dictatorship\, representations of historical events and social groups\, as well as the cultural and political imaginaries and discourses conveyed in television reports broadcast by TV Tupi - the country’s first television network (1950 - 1980)\, whose archive was incorporated into the Brazilian Cinematheque in 1987.\nThis presentation focuses on processes of audiovisual cataloguing\, preservation\, and expanded access to these materials\, highlighting their transdisciplinary nature. The TV Tupi Collection comprises approximately 180\,000 16mm reels (around 8\,800 cases)\, in addition to a substantial set of scripts for national and international news narration. It is estimated that about 150\,000 of these materials date from the 1950s to 1974\, forming the core corpus of the project.\nThis work emphasizes the articulation between historical research\, critical analysis\, and laboratory practices in audiovisual preservation. By engaging with a largely unseen and still underexplored corpus\, the project contributes to the recognition and circulation of a significant portion of Brazil’s audiovisual memory\, expanding possibilities for research on the country’s history\, politics\, and culture. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:3805397766bf0b43a8b114771e6728d9 URL:http://fiatiftaworldconference2026.sched.com/event/3805397766bf0b43a8b114771e6728d9 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T190000Z DTEND:20261007T193000Z SUMMARY:The Audiovisual Archive and Its Commitment to the Memory of Peoples DESCRIPTION: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.\n\n\nTelevision 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.\n\n\nDuring 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.\nThe 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.\nIt 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.\nWith 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.\n\n\nThe 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.\n\n\nOur 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.\n\n\nFinally\, 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. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:21e552548c6e2028c79360c5390c2dc7 URL:http://fiatiftaworldconference2026.sched.com/event/21e552548c6e2028c79360c5390c2dc7 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T193000Z DTEND:20261007T200000Z SUMMARY:Ambassadors of our own living archives; a community-led framework for addressing gaps in the archive DESCRIPTION:In the UK\, Black homemovies have been historically under-collected and under-valued as a result of years of systemic and interpersonal racism. Distributed at the hands of those deciding what is of importance to collect\, preserve and who they want to represent their country. Additionally\, homemovies that are categorised to represent Black life in Britain are often through the gaze and context of the onlooker\, leading to inaccurate\, dangerous and racist storytelling and cataloguing. \;\n\n\nIn response\, ‘Undocumented’ sought to address these historical absences and inaccuracies. The first year of the project focused on building trust amongst the black community\, introducing audiences to archives as a source of learning and inspiration but also making them aware of the gaps within them. This year was a vital foundation of uplifting the Black people as custodians of their own legacies and informing them that their homemovies are in desperate need of preservation. The second year focused on training 40 Black Screen Heritage Ambassadors\, building confidence\, skills\, and trust in the archive sector\, and supporting participants to digitise and preserve a selection of material. The 3rd year marks a significant step change: moving from training and initial collecting\, into sustained ambassador activity and sector-facing leadership. \;\n\n\nIn this presentation\, we will discuss the results\, learnings and challenges of this framework as a tool for other producers and researchers to utilise in response to gaps within archives and film history. Alongside this we will explain the conception of the programme\, themes found in donated footage and key takeaways from participants regarding how this programme has developed them as Ambassadors of archive materials. We will also screen a trailer of the short-film ‘Custodians’ created by a programme participant Monalisa Chukwuma\, which is a photographic and cinematic exploration of Black archival labour\, community memory\, and care. \; CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:3ae6aad86f35b688557f58d18d5f1027 URL:http://fiatiftaworldconference2026.sched.com/event/3ae6aad86f35b688557f58d18d5f1027 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T193000Z DTEND:20261007T200000Z SUMMARY:Data Archaeology in Buenos Aires: Building a Digital Catalog for the Museo del Cine DESCRIPTION:Founded in 1971\, the Museo del Cine Pablo Ducrós Hicken preserves one of Argentina's most significant audiovisual collections. Its holdings include over 90\,000 film reels\, from early nitrate film to contemporary productions\, among them major collections such as the Sucesos Argentinos newsreel archive and the Canal 9 television news collection\; more than 50\,000 photographs\; and thousands of posters\, sketches\, costumes\, scripts\, production documents\, and cinematographic equipment. Hundreds of thousands of items across a wide range of formats and typologies.\n\n\nFor more than five decades\, the museum's staff have documented the collection through paper-based inventories and\, later\, dozens of carefully maintained spreadsheets. Over the same period\, successive municipal and international initiatives introduced centralized cataloging platforms\, from city-wide databases to UNESCO-backed systems like WinISIS\, but each was either discontinued or left without ongoing support. The museum's own records outlived them all\, yet no single system ever tied the information together.\n\n\nThis presentation traces how the museum reconciled and migrated decades of accumulated data into an integrated open-source collection management system and public digital catalog\, bridging independently managed film\, photographic\, archival\, and object collections in a single platform. It includes a live demonstration of the result.\n\n\nDrawing on this experience\, we discuss what it takes to build sustainable digital collections infrastructure in contexts where continuity cannot be taken for granted. We share what we learned about legacy data reconciliation\, open-source adoption\, and the concrete role of international cooperation. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:7fb4dc5746a2d378177fcc6860f8f02d URL:http://fiatiftaworldconference2026.sched.com/event/7fb4dc5746a2d378177fcc6860f8f02d END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T193000Z DTEND:20261007T200000Z SUMMARY:Safeguarding the national memory at RTÉ DESCRIPTION:As Ireland’s national public service media organisation\, RTÉ holds a vast\, irreplaceable repository of the state’s audiovisual heritage. However\, the transition from physical carriers to a resilient digital future presents a challenge. This presentation examines RTÉ’s large-scale migration and digital preservation odyssey - a programme that balances the weight of historical stewardship with the realities of modern fiscal and technological constraints. We analyse the answers to key questions for this programme of projects\, such as:\nHow did we migrate different archive collections? i.e.\, how were resourcing challenges tackled and how did we decide on in-house versus outsourced aspects of migration?How did we restructure the archive department to accommodate the resourcing of the large-scale projects running in parallel to business as usual?How did RTÉ Technology approach this challenge\, and what was the modern\, resilient\, and most cost-effective technology solution deployed to accommodate this mass migration and provide long-term digital access to audiovisual archive content?How did we introduce digital preservation principles\, and what remains to be done in this area? CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:8d350a3f200828c929a271dd73b15c59 URL:http://fiatiftaworldconference2026.sched.com/event/8d350a3f200828c929a271dd73b15c59 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T200000Z DTEND:20261007T203000Z SUMMARY:Beyond the Final Whistle: Audiovisual Archives and the Memory of Brazilian Sport DESCRIPTION:In recent years\, Brazil has witnessed a growing interest in sports films and documentaries based on archival footage\, with productions such as 1995: No Tempo dos Bad Boys\, Doutor Castor\, A Mão do Eurico\, Senna\, Brasil 2002 and Brasil 70: A Saga do Tri. These works demonstrate not only the cultural appeal of sports memory\, but also the central role played by audiovisual archives in shaping public narratives about national history\, identity and collective imagination.\n\nThis proposal aims to present examples from the sports audiovisual collection of Fundação Padre Anchieta/TV Cultura\, highlighting its relevance as a research and footage-licensing center for archival sports documentaries. As one of the pioneering institutions in Brazilian television broadcasting and sports roundtable programming\, TV Cultura holds a rich and diverse collection\, including materials produced by the broadcaster itself as well as records originating from other television channels and institutions.\n\nThe project also addresses a crucial challenge in audiovisual preservation: the safeguarding\, restoration and digitization of materials whose copyrights belong to other entities\, but which may no longer be preserved\, accessible or even extant in the collections of their original rights holders. This is particularly relevant in the case of footage from broadcasters such as TV Manchete and TV Tupi\, as well as institutions affected by major archival losses\, including fires. By discussing access\, reuse and responsibility\, this proposal argues that the preservation of sports audiovisual archives is essential not only for institutional memory\, but also for the circulation\, reinterpretation and survival of Brazilian sports memory. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:570a70df7b09047d16f00ca5409d0f13 URL:http://fiatiftaworldconference2026.sched.com/event/570a70df7b09047d16f00ca5409d0f13 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T200000Z DTEND:20261007T203000Z SUMMARY:Data.ina.fr : Unlocking the Value of Audiovisual Heritage through Data DESCRIPTION: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. \;\nThe 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. \;\ndata.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. \;\nThis 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. \;\nInternally\, 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. \; CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:3b9330e2d6b76c806e0cd9d82b6a21ec URL:http://fiatiftaworldconference2026.sched.com/event/3b9330e2d6b76c806e0cd9d82b6a21ec END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261007T200000Z DTEND:20261007T203000Z SUMMARY:The power of Regional Archives; expanding our worldview DESCRIPTION:The presentation will be about how we gain the trust of the filmmakers and their subjects\, about finding new collaborations and how this method is a gateway for us into communities that were hard to reach.\n\n\nAs the main example the presentation will be about Boy from the Dessa\, a documentary series about Indonesian born musician Rudy Lentze\, who came to the Netherlands as a baby. Rudy Lentze's personal history takes the viewer through major social and historical developments\, including the colonial history of the Dutch East Indies\, immigration\, and the challenges of building a life from a complex migration background. Rudy's idiosyncrasy is rooted in the fascinating life story of a man born in Indonesia to an "Indo" father (with German roots) and a Sundanese mother\, who was raised in the Netherlands. He grew up in a disrupted family caught between clashing cultures and nearly succumbed to it all — depression\, anxiety\, drug use\, and alcohol. Still\, like a classic (anti-)hero\, Rudy managed to largely overcome his troubled youth and personal problems. Music was his salvation. \;\n\n\nThis documentary is a collaboration between the filmmakers and the Archive. From the start we endorsed the making of this film\, helping with finding and digitising the archive material\, and in return we acquired the rich Lentze family archive\, one of the few family archives of an Indonesian family. Including a lot of film- and videoreels\, and audiotapes. This is part of an ongoing collaboration with filmmakers from Greater Groningen\, mainly\, but not exclusively through our themed website www.poparchiefgroningen.nl (the Groningen Poparchive). We help the artists\, they add to our archive. With doing so we reach a different audience and we diversify our collection in an organic way. We have more than 30 'Rockumentaries' online\, and with Boy from the Dessa as the latest feature\, the archive is firmly rooted in that part of society. Regional stories\, embedded in the national history.\n\n\nThe documentary series will be made available afterwards for all participants of the World Conference.\n\n\n CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:f860b565603911af57c0092c9ea9d597 URL:http://fiatiftaworldconference2026.sched.com/event/f860b565603911af57c0092c9ea9d597 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T120000Z DTEND:20261008T130000Z SUMMARY:Keynote #2 DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:48090604a6baab8af20ce064651cbf6e URL:http://fiatiftaworldconference2026.sched.com/event/48090604a6baab8af20ce064651cbf6e END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T130000Z DTEND:20261008T140000Z SUMMARY:FIAT/IFTA Initiatives: MSC Grant DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:74da12bbddd642de1a335196045edbc2 URL:http://fiatiftaworldconference2026.sched.com/event/74da12bbddd642de1a335196045edbc2 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T140000Z DTEND:20261008T143000Z SUMMARY:Morning Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:0704e85e3cabf212cc76c98822b8755a URL:http://fiatiftaworldconference2026.sched.com/event/0704e85e3cabf212cc76c98822b8755a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T143000Z DTEND:20261008T160000Z SUMMARY:FIAT/IFTA General Assembly DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:6838dfaeb69f0e5298e8e710c8518fc0 URL:http://fiatiftaworldconference2026.sched.com/event/6838dfaeb69f0e5298e8e710c8518fc0 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T160000Z DTEND:20261008T170000Z SUMMARY:Lunch Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:349ac4e7a75d36265ac2ae42a9de7488 URL:http://fiatiftaworldconference2026.sched.com/event/349ac4e7a75d36265ac2ae42a9de7488 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T170000Z DTEND:20261008T173000Z SUMMARY:Crossed Perspectives France–Brazil: Working with Indigenous Audiovisual Memories DESCRIPTION:This session proposes a joint field-based presentation by the Institut national de l’audiovisuel (INA\, France) and the Cinemateca Brasileira\, drawing on the project Crossed Perspectives France–Brazil\, developed within the framework of the France–Brazil Cultural Season 2025.\nThe project addresses a central question for audiovisual archives worldwide: how to preserve\, document\, restore and provide access to audiovisual collections related to Indigenous peoples\, in contexts shaped by historical asymmetries\, political sensitivities and ethical responsibilities\, while engaging respectfully with the communities concerned.\nBased on audiovisual collections held in France and Brazil\, largely produced through external viewpoints\, the project initiated a process of critical reassessment of collections\, re-documentation and international cooperation\, in dialogue with Brazilian professionals and representatives of Indigenous communities\, notably the Xokó people.\nAudiovisual archives relating to Indigenous peoples are highly sensitive heritage materials\, both invaluable and complex to work with. \;They raise intertwined challenges:\nhistorical North–South imbalances in the production and custody of images\;ethical issues related to rights\, consent and contemporary uses\;documentary gaps and inadequate metadata\;growing expectations regarding access\, restitution and cultural reappropriation. \;\nIn this context\, cooperation between a European public audiovisual archive and a major Latin American cinematheque offers a concrete opportunity to experiment with operational frameworks based on trust\, mediation and co-construction. \;\nIn this context\, the presentation will consist in drawing hypothesis to the following questions :  \;\nHow can audiovisual archives responsibly work with collections related to Indigenous peoples that were historically produced through external or unequal viewpoints?In what ways can ethical considerations (rights\, consent\, cultural sensitivity) be embedded directly into archival\, technical and editorial workflows?What role can national institutions and international cooperation play in enabling dialogue\, shared governance and sustainable decision‑making?Which practices developed through this France–Brazil experience are transferable to other archival contexts dealing with sensitive or marginalised memories?The Cinemateca Brasileira: reference institution and national mediator\nThe Cinemateca Brasileira plays a key role in anchoring the project locally\, combining archival expertise\, in-depth knowledge of Brazilian legal and cultural contexts\, and active dialogue with professionals and communities. It contributes to defining cooperation frameworks that are attentive to Indigenous sensitivities and national institutional realities.\nINA: trusted third party and methodological facilitator\nINA acts as a trusted third party\, providing methodological tools for documentation\, analysis and governance\, while supporting the critical reassessment of collections produced outside Brazil.\n \; CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:a2916970c7593447f644ab629fa9c363 URL:http://fiatiftaworldconference2026.sched.com/event/a2916970c7593447f644ab629fa9c363 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T170000Z DTEND:20261008T173000Z SUMMARY:The Current Limits of AI in Film Restoration and How They May Be Surpassed DESCRIPTION:Artificial intelligence has rapidly become an important tool in contemporary film restoration. Machine learning systems now assist with chroma reconstruction\, density balancing\, spatial inference\, defect detection\, and reference-guided restoration. Despite these advances\, current AI methods still encounter significant limitations when dealing with the physical and statistical characteristics of photochemical film and scanned archival materials. This presentation examines the principal technical boundaries of present-day AI restoration systems and identifies the research directions most likely to overcome them. The first major limitation is the loss of high-frequency information: many generative models operate in compressed latent representations that suppress stochastic micro-signal\, producing over-smoothed textures and synthetic noise patterns. The second limitation is temporal consistency: motion picture restoration requires stable behaviour of fine detail across frames\, yet current systems often produce flickering textures and motion-dependent smoothing. The third limitation concerns acquisition-specific signal characteristics: film stock response curves\, dye fading behaviour\, scanner optics\, and laboratory processing artifacts vary enormously across archival materials. The presentation then examines emerging approaches that may address these limitations. Pixel-space diffusion offers improved microstructure reconstruction but at extreme computational cost. Wavelet-based diffusion frameworks reorganise image information into frequency bands while preserving spatial localisation. Grain transport - treating film grain not as noise to be removed but as a structured stochastic signal to be probabilistically preserved - represents a further frontier. Drawing on the presenter's ongoing experimental work in machine-learning-assisted film restoration\, the presentation argues that the most promising path forward lies in hybrid workflows that combine machine learning inference\, classical frequency-domain processing\, stochastic grain modelling\, and expert human supervision. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:12c45c0070b1b3a0c67984c59343cec1 URL:http://fiatiftaworldconference2026.sched.com/event/12c45c0070b1b3a0c67984c59343cec1 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T170000Z DTEND:20261008T173000Z SUMMARY:The TV Educativa Collection at MIS CE: Audiovisual Preservation Practices in Ceará DESCRIPTION:The Museum of Image and Sound of Ceará (MIS CE) was established with the mission of preserving and promoting the state’s audiovisual heritage. Today\, its collection is estimated at around 160\,000 items\, including part of the archive of Educational Television (TVE). Founded in 1974\, TVE was created to produce educational content for the Ceará State Secretariat of Culture and Education through a tele-education system.\nWhen the museum was founded in 1980\, part of the TVE collection was incorporated into its holdings. This material includes records\, 16 mm film reels\, and slides. As one of the earliest collections within MIS CE\, it was affected over time by relocations and interruptions in preservation processes.\nIn 2022\, the museum was reopened and expanded with a new annex building. This facility includes updated storage areas as well as preservation and digitization laboratories. With new technologies\, such as a film scanner\, the museum has significantly enhanced its ability to process and share its collections\, particularly the TVE archive. A recent assessment helped identify losses that occurred during past relocations and determine how much of the collection still requires digitization.\nDuring the digitization process\, numerous materials of historical\, cultural\, and political significance to the state were identified. This collection reinforces the role of television archives in shaping identity\, as it reveals transformations within communities and traces the development of regional social values.\nIn this context\, the history of audiovisual production and television in Ceará - home to the third television station established in the region -\, can now be revisited through previously inaccessible sources. It also opens new avenues for research into these materials\, contributing to a broader understanding of television history in Brazil. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:fdec5dc2d33b10a19a186a54efd1fae6 URL:http://fiatiftaworldconference2026.sched.com/event/fdec5dc2d33b10a19a186a54efd1fae6 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T173000Z DTEND:20261008T180000Z SUMMARY:Ancient wisdom meets contemporary technology: NFSA and the co-designed model of First Nations collaboration DESCRIPTION:In the global archival sector\, "co-design" is frequently discussed but rarely interrogated as a force for institutional change. For the National Film and Sound Archive of Australia (NFSA)\, the journey toward a First Nations-led collaborative model began with a profound challenge: the preservation and repatriation of the Strehlow Collection. Containing highly sensitive\, men’s-only sacred ceremonies recorded in Central Australia between 1932 and 1975\, the collection’s preservation was a technical necessity but a cultural challenge.\n\n\nThis paper argues that the Strehlow project served as the pivotal milestone that transformed the NFSA’s own professional practice. By moving beyond the traditional model of "custodianship\," the NFSA worked with the Traditional Owners to build a truly collaborative framework to appropriately preserve\, digitise and repatriate the material on Country. Embedded in the process was deep respect and observation of cultural protocols\, governed by a dedicated Men’s Working Group. The work was centred around strict\, community-guided cultural protocols\, and culminated in the deployment of a "Digital Access Studio" in Mparntwe (Alice Springs) to ensure on-Country control.\n\n\nCritically\, this model has not remained static. Drawing on the FIAT/IFTA theme of mutual learning\, the NFSA iteratively evolved its approach—from the early lessons of the Strehlow project to further collaborations with First Nations communities across Australia. This includes a multi-year project to digitise and repatriate the archive of the Torres Strait Islander Media Association – a collection that holds decades of audiovisual material of significance to communities across the Torres Strait.\n\n\nBy analysing this evolution\, the paper demonstrates how audiovisual archives can become true spaces of exchange\, where institutional technical expertise and ancient cultural authority meet to create a more ethical\, resilient\, and collaborative archival future. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:8f73dda8d5f79bd4151da50e4f3c8522 URL:http://fiatiftaworldconference2026.sched.com/event/8f73dda8d5f79bd4151da50e4f3c8522 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T173000Z DTEND:20261008T180000Z SUMMARY:Digital Preservation within CTAv: A Diagnostic Analysis of Maturity\, Strategies\, and Implementation Challenges DESCRIPTION:Digital technologies have been revolutionizing audiovisual production\, providing benefits in image and sound capture\, mastering\, and editing. The transition from analogue carriers to digital systems impacts operational costs and\, crucially\, long-term access. In an increasingly digital world\, the dual pressure of born-digital production and the migration of analogue collections for dissemination and physical media conservation is intensifying the demand for digital preservation strategies. Given the challenges and complexity of digital preservation\, the present study proposes a maturity diagnostic of the Centro Técnico Audiovisual (CTAv) through a hybrid methodological approach. It employs the DPC Rapid Assessment Model (RAM) to evaluate organizational and service capabilities\, in conjunction with the NDSA Levels of Digital Preservation\, focusing on the technical integrity and storage control of audiovisual assets\, supplemented by field interviews with CTAv’s staff to evaluate the organisational and technological infrastructure\, as well as the sustainable resources framework. The objective is to identify and analyse the principal challenges to the implementation of a sustainable digital preservation strategy within the CTAv\, a public institution under the Secretariat of Audiovisual of the Brazilian Ministry of Culture that holds a significant national collection comprising over 24\,000 items\, including news reports\, short films\, documentaries\, and animations. It constitutes an audiovisual heritage of high historical\, documentary\, and artistic value to Brazil. As the CTAv collections are immersed in the digital era of constant change\, establishing a sustainable digital preservation framework is essential to safeguarding this heritage\, ensuring it remains accessible for future generations. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:51a332188ef6b4877a24ddd3bc243955 URL:http://fiatiftaworldconference2026.sched.com/event/51a332188ef6b4877a24ddd3bc243955 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T173000Z DTEND:20261008T180000Z SUMMARY:Memory at risk: seeking sustainable paths for audiovisual preservation in Goiás (Brazil) DESCRIPTION:This communication aims to present the first audiovisual preservation efforts at the State University of Goiás\, starting with the creation of the University Laboratory of Audiovisual Memory (LUMINAV)\, the first in the Brazilian Midwest dedicated to this purpose in a public university. In less than a year of existence\, LUMINAV has already managed to digitize and catalog the entire collection of the UEG Cinema and Audiovisual Course (more than 500 short productions in 20 years)\, in addition to having received more than 1500 items in two collections of inestimable value to \;\nthe culture of Goiás: the Caravídeo collection - containing records of traditional communities\, cultural events and social movements active in the state in the early 2000s - and the collection donated by anthropologist Telma Camargo\, with accounts from people affected by the Cesium-137 disaster in Goiânia.\nThis paper also presents the challenges for LUMINAV's permanent and sustainable work in preserving audiovisual memory in Goiás\, a territory where public policies for audiovisual media prioritize production and exhibition events\, without concern for sound and image heritage accompanying these funding opportunities. Through documentary analysis of the laws that guarantee public funding opportunities for culture in Goiás over the last 10 years (2016-2026)\, we seek to outline a panorama of public policies for audiovisual media in the state\, as well as to point out ways in which audiovisual preservation is considered not through isolated proposals\, but as a category eligible for permanent resource allocation. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:d44a294ef76af1914351f9c387f1334f URL:http://fiatiftaworldconference2026.sched.com/event/d44a294ef76af1914351f9c387f1334f END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T180000Z DTEND:20261008T183000Z SUMMARY:A TV film collection in a Brazilian public university: the Esdras Baptista collection at LUPA-UFF. DESCRIPTION:LUPA-UFF is a university lab created in 2017 and dedicated to orphan films from the State of Rio de Janeiro (Freire\, 2020). Within its collection\, which consists mostly of home movies\, the Esdras Baptista collection stands out as one of the most important with more than 1\,000 film reels. Esdras Baptista's collection includes 16mm footage he shot while responsible for television coverage of the Rio de Janeiro government (until 1960) and the state of Guanabara (after 1960\, when Brasília became the capital and Rio de Janeiro a city-state).\nAlthough assembled by a cameraman who was a government employee (so\, a personal collection)\, and not by a broadcast company or the government itself\, the Esdras' collection of 16mm black and white reversal silent films\, in its essence\, does not differ from other Brazilian TV film collections from the 1960s. What sets it apart is the fact that the Esdras' collection has been preserved\, digitized\, and disseminated by a regional university archive such as LUPA\, which represents a unique case in Brazil.\nIn addition to presenting this collection\, the objective of this presentation is to discuss the practices of access and dissemination of the Esdras Baptista collection by LUPA-UFF\, including its reuse and reinterpretation\,through collaboration between students\, professionals\, and professors\, within the scope of the undergraduate degree in Cinema and Audiovisual and the postgraduate program in Cinema at the Fluminense Federal University (UFF). This collection of 16mm films\, originally produced for television\, has become an important tool for teaching and research in the history of Brazil and\, in particular\, Rio de Janeiro. In addition\, the Esdras Baptista collection at LUPA-UFF provides the possibility of access to and dissemination of television archives\, which often face obstacles due to the lack of public policies for television audiovisual preservation and the policies of commercial companies (Tillmann\, 2021). CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:addaa5789f14ccdf51ef608b62833245 URL:http://fiatiftaworldconference2026.sched.com/event/addaa5789f14ccdf51ef608b62833245 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T180000Z DTEND:20261008T183000Z SUMMARY:CBC/Radio-Canada’s Archives: Truth for Reconciliation DESCRIPTION:This presentation discusses ways in which Canada's public broadcaster is working to mobilize its vast archival legacy to support its reconciliation with Indigenous Peoples. From the digitization of archival radio shows that aired in Indigenous languages\, to analyzing historical coverage for its portrayals of Indigenous stories\, CBC/Radio-Canada is advancing along its reconciliation journey by surfacing the truths embedded in its audiovisual past\, in collaboration with Indigenous researchers and communities. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:73e5f99d9ab2a2aa5e69332f889641d9 URL:http://fiatiftaworldconference2026.sched.com/event/73e5f99d9ab2a2aa5e69332f889641d9 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T180000Z DTEND:20261008T183000Z SUMMARY:Rescue of Chilean film newsreels (1944-1949) DESCRIPTION: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.\n\n\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:077ffa1387fb537c5c6da0d0ceda58d7 URL:http://fiatiftaworldconference2026.sched.com/event/077ffa1387fb537c5c6da0d0ceda58d7 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T183000Z DTEND:20261008T190000Z SUMMARY:Afternoon Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:708c6d9cc2da7116a2aa1b0a0a4774fa URL:http://fiatiftaworldconference2026.sched.com/event/708c6d9cc2da7116a2aa1b0a0a4774fa END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T190000Z DTEND:20261008T200000Z SUMMARY:Meet the Sponsors – Silver DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:67a565da2dd3a838c4bde85dc729eeb1 URL:http://fiatiftaworldconference2026.sched.com/event/67a565da2dd3a838c4bde85dc729eeb1 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T200000Z DTEND:20261008T210000Z SUMMARY:FIAT/IFTA Awards – Candidates Session DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:4ed8fdef2a72509aaee6dbb868cd8f17 URL:http://fiatiftaworldconference2026.sched.com/event/4ed8fdef2a72509aaee6dbb868cd8f17 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261008T223000Z DTEND:20261009T023000Z SUMMARY:Gala Dinner & Awards Show DESCRIPTION:\n CATEGORIES:SOCIAL EVENTS LOCATION:Cinemateca Brasileira SEQUENCE:0 UID:85f9673e2cc3fe964c332ff54b9426cc URL:http://fiatiftaworldconference2026.sched.com/event/85f9673e2cc3fe964c332ff54b9426cc END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T115700Z DTEND:20261009T115700Z SUMMARY:Guardians of Memory: Social Technology and Audiovisual Heritage in the Ruins of Serra Pelada DESCRIPTION: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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:11e3b873293a035100036b0142caaad1 URL:http://fiatiftaworldconference2026.sched.com/event/11e3b873293a035100036b0142caaad1 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T120000Z DTEND:20261009T123000Z SUMMARY:Cinemateca da Quebrada: Reclaiming Audiovisual Memory from the Periphery DESCRIPTION: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.\nThe 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.\nRather 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.\nThe 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.\nThis 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:f97ac97fd889c9563f76c688e6f85337 URL:http://fiatiftaworldconference2026.sched.com/event/f97ac97fd889c9563f76c688e6f85337 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T123000Z DTEND:20261009T130000Z SUMMARY:Constructed\, Told\, Spoken: A Counter History of Britain on TV - Looking back at a unique moment on British Television DESCRIPTION: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. \;\n\n\nIn 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.\n\n\nThe 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.\n\n\nMy 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:65caf790b3dbfbd193f30f59a7aa744a URL:http://fiatiftaworldconference2026.sched.com/event/65caf790b3dbfbd193f30f59a7aa744a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T123000Z DTEND:20261009T130000Z SUMMARY:From an archive to a media brand: scaling access to collections DESCRIPTION: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. \;\n\n\nNFSA 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.\n\n\nThis 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:4e2cb54289f399528b9efcbdbb44a47c URL:http://fiatiftaworldconference2026.sched.com/event/4e2cb54289f399528b9efcbdbb44a47c END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T123000Z DTEND:20261009T130000Z SUMMARY:Reimagining Metadata: AI Driven Discovery and Documentation in the Olympic Archives DESCRIPTION: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. \;\nLaunched 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. \;\nFront‑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. \;\nOn 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. \;\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:cac899d785b4968bdcc81a4b34481b47 URL:http://fiatiftaworldconference2026.sched.com/event/cac899d785b4968bdcc81a4b34481b47 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T130000Z DTEND:20261009T133000Z SUMMARY:Development of an Archive Video Retrieval System Using CLIP and ANN Search on Keyframe Images DESCRIPTION: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.\nTo 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.\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:35aa3a83adf548995c229dd070f72953 URL:http://fiatiftaworldconference2026.sched.com/event/35aa3a83adf548995c229dd070f72953 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T130000Z DTEND:20261009T133000Z SUMMARY:Fan practices and the preservation of Brazilian TV memory: curation\, archivability\, legitimation\, and disputes DESCRIPTION: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.\n\n\nToday\, 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.\n\n\nThis 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:c43d1b8d7656bd1b66cdd29cec9f5643 URL:http://fiatiftaworldconference2026.sched.com/event/c43d1b8d7656bd1b66cdd29cec9f5643 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T130000Z DTEND:20261009T133000Z SUMMARY:When Archives Come Alive: Montage\, Memory and Intergenerational Connection in Brazilian Broadcast Promotion DESCRIPTION: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.\n\n\nDrawing 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.\n\n\nA 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.\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:add611c66a92ed09571099a13ec96793 URL:http://fiatiftaworldconference2026.sched.com/event/add611c66a92ed09571099a13ec96793 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T133000Z DTEND:20261009T140000Z SUMMARY:5W-Driven Metadata Structures for Automated Cataloguing of Journalistic Stories: Challenges and Opportunities in EventOriented Metadata Architectures DESCRIPTION: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\nsystems. The approach operationalizes the 5W model—adapted here as 4W + 1H—through lightweight\, nonontological solutions suitable for legacy documentation environments.\n\n\nThe 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.\n\n\nThe 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.\n\n\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:8fa8e7ab2af27a21304f7f1435b8cf80 URL:http://fiatiftaworldconference2026.sched.com/event/8fa8e7ab2af27a21304f7f1435b8cf80 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T133000Z DTEND:20261009T140000Z SUMMARY:Beyond the Gallery Wall: Creative Collaboration with Audiovisual Archives in Community Spaces DESCRIPTION: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.\nAligned 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:c385023a0ce8e8942d4bc9c8db78a82a URL:http://fiatiftaworldconference2026.sched.com/event/c385023a0ce8e8942d4bc9c8db78a82a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T133000Z DTEND:20261009T140000Z SUMMARY:Visible/Impermanent: How Broadcast Archives Narrate Permanence\, Negotiate Loss\, and Appear (or Disappear) in Public DESCRIPTION: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. \;\nThis 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:30c1511536353d16ae6efe13cf73f6cf URL:http://fiatiftaworldconference2026.sched.com/event/30c1511536353d16ae6efe13cf73f6cf END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T140000Z DTEND:20261009T143000Z SUMMARY:Morning Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:37d8c6752ba543caa0fdbac812556e94 URL:http://fiatiftaworldconference2026.sched.com/event/37d8c6752ba543caa0fdbac812556e94 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T143000Z DTEND:20261009T153000Z SUMMARY:Beyond data supply: audiovisual archives as builders of Public AI DESCRIPTION: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.\nThis 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.\nTogether\, 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.\nIn 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.\nParticipants 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.\n[1] https://www.dataspace-culturalheritage.eu/en/news/discover-our-new-publication-on-artificial-intelligence-and-the-data-space CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:82b8c065f790b642e08cccd779770be4 URL:http://fiatiftaworldconference2026.sched.com/event/82b8c065f790b642e08cccd779770be4 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T143000Z DTEND:20261009T150000Z SUMMARY:Curator\, Producer\, and Connector: The New Role of the Archive Professional at Globo's TV DESCRIPTION:\nThe 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.\nWith 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.\nAll 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.\nThe 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.\n\n CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:b36fda5b5c5fb3606e7adfe3bbcfa4f6 URL:http://fiatiftaworldconference2026.sched.com/event/b36fda5b5c5fb3606e7adfe3bbcfa4f6 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T143000Z DTEND:20261009T150000Z SUMMARY:Preservation of 16mm films "Gugusse style" DESCRIPTION: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.\nIn 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.\n\n\nThis 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:70cfad2673666d92b614d7f754d773ff URL:http://fiatiftaworldconference2026.sched.com/event/70cfad2673666d92b614d7f754d773ff END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T150000Z DTEND:20261009T153000Z SUMMARY:Behind Every Crime\, a File: The Power of Archives in True Crime DESCRIPTION:The Importance of Archives in Non-Fiction True Crime Series\nThe 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 \;\nArchives as a guarantee of authenticityArchives as a narrative toolArchives and collective memoryArchives as a space of power and ethicsArchives as an instrument of public truthThe role of the archivist in non-fiction true crime series\n\n\n\n CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:f7c2a750e601ce9a99e5844f292b9782 URL:http://fiatiftaworldconference2026.sched.com/event/f7c2a750e601ce9a99e5844f292b9782 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T153000Z DTEND:20261009T160000Z SUMMARY:Access and Dissemination of the Empresa Brasil de Comunicação Collection: Management Challenges DESCRIPTION: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.\nThe 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.\nAccordingly\, 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:10ce2620ab6999a740cc830fe1869f9a URL:http://fiatiftaworldconference2026.sched.com/event/10ce2620ab6999a740cc830fe1869f9a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T153000Z DTEND:20261009T160000Z SUMMARY:After Memory\, Before Disappearance: Madeja and the Care of Time DESCRIPTION: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.\nBut 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.\nTime 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.\nThis 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:6ec875b95f694a247838dbd9d713bcb5 URL:http://fiatiftaworldconference2026.sched.com/event/6ec875b95f694a247838dbd9d713bcb5 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T153000Z DTEND:20261009T160000Z SUMMARY:Governing Deepfakes from the Inside: Broadcasters as Upstream Actors in the Protection of Audiovisual Archives DESCRIPTION: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.\nThis 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.\nThe 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. \; CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:c2d443cb216aa8989cb9941b16529705 URL:http://fiatiftaworldconference2026.sched.com/event/c2d443cb216aa8989cb9941b16529705 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T160000Z DTEND:20261009T170000Z SUMMARY:Lunch Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:d2813592c5f7d0ec1c0b6abe114ca774 URL:http://fiatiftaworldconference2026.sched.com/event/d2813592c5f7d0ec1c0b6abe114ca774 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T170000Z DTEND:20261009T173000Z SUMMARY:Preserving Continuity Through Change: Lessons from a Large-Scale MAM Consolidation Project DESCRIPTION: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. \;\nThe 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. \;\nThis 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. \;\nBeyond 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. \;\nThe project offers a practical case study for archives facing merger\, restructuring\, or infrastructure renewal\, highlighting key lessons related to preservation\, access\, and sustainability. \; CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:741ff8d6c9c4e1ec39b79c208a15fa76 URL:http://fiatiftaworldconference2026.sched.com/event/741ff8d6c9c4e1ec39b79c208a15fa76 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T170000Z DTEND:20261009T173000Z SUMMARY:Reactivating Audiovisual Archives: Pedagogy\, Montage and Women’s Histories at FGV CPDOC DESCRIPTION: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.\nSince 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.\nThe 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.\nBy 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.\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:d7519495df563e0b8b28011be09c2009 URL:http://fiatiftaworldconference2026.sched.com/event/d7519495df563e0b8b28011be09c2009 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T170000Z DTEND:20261009T173000Z SUMMARY:The diversity of content under the responsibility of Cedoc / TV Cultura DESCRIPTION: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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:1c5b63eadf67d1b81ee09a1f3e34c94a URL:http://fiatiftaworldconference2026.sched.com/event/1c5b63eadf67d1b81ee09a1f3e34c94a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T173000Z DTEND:20261009T183000Z SUMMARY:Counter-archive of Women: Mapping\, Preservation\, and Diffusion of Short Films from Brazil’s Military Dictatorship DESCRIPTION: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.\nNext\, 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.\nFinally\, 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.\nBy 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. CATEGORIES:PARALLEL SESSION LOCATION:Lygia Grandflour Room\, Cinemateca Brasileira SEQUENCE:0 UID:c6d50227d9c83fb0758aacda1375115c URL:http://fiatiftaworldconference2026.sched.com/event/c6d50227d9c83fb0758aacda1375115c END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T173000Z DTEND:20261009T180000Z SUMMARY:From Obsolescence to Digital: Large-Scale Betacam Digitization at Grupo Globo’s Archive DESCRIPTION:\nThe 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.\nTo 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.\nAs 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. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:011357031a4039cb5f85ea8d859a07f5 URL:http://fiatiftaworldconference2026.sched.com/event/011357031a4039cb5f85ea8d859a07f5 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T173000Z DTEND:20261009T180000Z SUMMARY:When the Archive Resists: Democracy\, Obsolete Media\, and Possible Futures for Museums of Image and Sound DESCRIPTION: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.\nThe 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.\nThe 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:58022c21a0eb36b750cbfb8cff16cba4 URL:http://fiatiftaworldconference2026.sched.com/event/58022c21a0eb36b750cbfb8cff16cba4 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T180000Z DTEND:20261009T183000Z SUMMARY:Public and Private: what changes? A Dialogue between two brazilian cases of audiovisual preservation DESCRIPTION: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.\nEstablished 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.\nRede 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. CATEGORIES:PARALLEL SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:299b52b173ebe9d640fda1ba7379117b URL:http://fiatiftaworldconference2026.sched.com/event/299b52b173ebe9d640fda1ba7379117b END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T180000Z DTEND:20261009T183000Z SUMMARY:The Researcher in Audiovisual: Preserving and Valuing Audiovisual Memory DESCRIPTION: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.\n\nFounded 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.\n\nIn 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.\n\nIn 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. CATEGORIES:PARALLEL SESSION LOCATION:Oscarito Room\, Cinemateca Brasileira SEQUENCE:0 UID:587eaff980fabc3f16a27b87d38e19d2 URL:http://fiatiftaworldconference2026.sched.com/event/587eaff980fabc3f16a27b87d38e19d2 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T183000Z DTEND:20261009T190000Z SUMMARY:Afternoon Break DESCRIPTION:\n CATEGORIES:BREAK LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:2498472b8d62d7cb35d7bfb4c19e9ae6 URL:http://fiatiftaworldconference2026.sched.com/event/2498472b8d62d7cb35d7bfb4c19e9ae6 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T190000Z DTEND:20261009T193000Z SUMMARY:Poster Session DESCRIPTION:- Caliche\, Nitrate: An Archaeology of Early Chilean Cinema (1897–1907) – Nina Satt Castillo\n- The British Entertainment History Project – Susan Margaret Malden\n- Cross‑Border Memories: Documenting Michael Dingake and the Regional Dialogues of Southern Africa’s Liberation Struggle – \;Tshepho Mosweu\, \;Mpho Dintwa\n- Animated Egypt: The Moheeb Animation Studio Archive at the American University in Cairo – \;Stephen Urgola\n- Trust and Memory: Addressing the Impact of Generative AI on Audiovisual Archives – \;Fabio Bedoya\n- Audiovisual Preservation in Southern Brazil: Climate Change\, Conservation and Access – \;Louise Ayang Folgiarini\, Estela Machado Winter Galmarino\, Welington Ricardo Machado da Silva\n- Constructing Japanese Immigration in Brazil: the Visible and the Off-Screen – \;Tomyo Costa Ito\n- Televisar la Dictadura: Mediating Television Archives and Collective Memory in the Southern Cone – \;Diana Harumi Cardozo\n- 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\n- FRAME Mentoring 2026 – Meet the mentees – \;Thomas Monteil\n- Preservation: A Digital Dilemma - Creation of the Brazilian Forum of Image and Sound Museums – \;José Maria Pereira Lopes\, \;Mirele Camargo\n- Super-8 Films Reinterpreted: Practice of Preserving Intangible Heritage and Traditional Knowledge – Luzia Gabriela Dantas de Lima Mendes \n- Rediscovering portapak 1/2" open reels and equipment in Brazil – \;Maria Byington\n- Artificial Intelligence and audiodescription scripts: tools and perspectives in the Brazilian context – Welinton Vinicius Pereira de Souza CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:989aa57cf05ab117cef214a96a49f17e URL:http://fiatiftaworldconference2026.sched.com/event/989aa57cf05ab117cef214a96a49f17e END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T193000Z DTEND:20261009T203000Z SUMMARY:Expert Roundtables DESCRIPTION: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.\n\nAll 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.\n\nIf you are interested in moderating one of the Expert Roundtables\, stay tuned for a survey we will launch soon. CATEGORIES:PLENARY SESSION LOCATION:Oscarito Foyer\, Cinemateca Brasileira SEQUENCE:0 UID:d1caca2baa44353d173eb33b4a831d8a URL:http://fiatiftaworldconference2026.sched.com/event/d1caca2baa44353d173eb33b4a831d8a END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T203000Z DTEND:20261009T204500Z SUMMARY:Closing Session DESCRIPTION:\n CATEGORIES:PLENARY SESSION LOCATION:Grande Otelo Room\, Cinemateca Brasileira SEQUENCE:0 UID:394b5e4c40e884c864626b25fb8ceba2 URL:http://fiatiftaworldconference2026.sched.com/event/394b5e4c40e884c864626b25fb8ceba2 END:VEVENT BEGIN:VEVENT DTSTAMP:20260525T225408Z DTSTART:20261009T204500Z DTEND:20261009T223000Z SUMMARY:Closing Drinks DESCRIPTION:\n CATEGORIES:SOCIAL EVENTS LOCATION:Cinemateca Brasileira SEQUENCE:0 UID:f8768086371711e84c7ba6f948bbe6e3 URL:http://fiatiftaworldconference2026.sched.com/event/f8768086371711e84c7ba6f948bbe6e3 END:VEVENT END:VCALENDAR