FIAT/IFTA World Conference 2026

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.
Designed 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.
Examples 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:

1. Publics and mediation: strategies for contextualising sensitive materials, involving communities in shaping narratives, and supporting inclusive authorship of shared histories.
2. Witnesses and co‑creation: ethical engagement with contributors and survivors, including methods for their protection and empowerment, and collaborative production of archival content.
3. 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.
A 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.

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.


The 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.


The 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.


At 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.

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

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

During 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.
 
The initiative focused on evaluating how artificial intelligence can transform the way content is retrieved and utilized in sports journalism and live broadcasting.
 
By 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.
 
In 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.
 
The PoC demonstrated the strategic potential of AI within the Archive, making content more accessible, reusable, and relevant across diverse editorial contexts.

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

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.
The 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.
Based 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.
Audiovisual archives relating to Indigenous peoples are highly sensitive heritage materials, both invaluable and complex to work with. They raise intertwined challenges:

• historical 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.

 
In 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. 
In this context, the presentation will consist in drawing hypothesis to the following questions :  

• How 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
The 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.
INA: trusted third party and methodological facilitator
INA acts as a trusted third party, providing methodological tools for documentation, analysis and governance, while supporting the critical reassessment of collections produced outside Brazil.
 

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.


This 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.


Critically, 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.


By 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.

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.

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


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


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


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


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


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

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


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

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


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


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


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

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

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

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

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

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