FIAT/IFTA World Conference 2026

Esta sesión será en español / This session will be in Spanish

Dirigido a líderes de archivos institucionales, oficiales, no oficiales, comunitarios, activistas y autogestionados, de y en América Latina, motivades por encontrar nodos de convergencia en la práctica de liderar, gestionar, movilizar y hacer sostenibles proyectos o áreas donde se gestiona patrimonio audiovisual en la región.

Este taller propone un espacio de construcción colectiva a partir de preguntas orientadoras, donde exploraremos juntes cuáles son las competencias de un archivista audiovisual en nuestra región y qué habilidades específicas hemos tenido que desarrollar de acuerdo con nuestras realidades divergentes: la influencia del clima político y social actual y de los gobiernos, la noción de riesgo, la adaptabilidad y la defensa de la causa en entornos mediados por situaciones críticas recurrentes.

A través de dinámicas participativas, invitaremos tanto a personas con trayectorias largas como a nuevas liderazgas a compartir cómo se han integrado a las dinámicas de nuestro campo, cómo la profesión se ha (o no se ha) profesionalizado, cómo nos relacionamos con las buenas prácticas del Norte Global, y cómo comunicamos y educamos a nuestras audiencias y comunidades de interés sobre los archivos audiovisuales.

Como resultado del taller, construiremos de manera colectiva un póster para ser compartido públicamente, en el que podamos reconocernos y potenciar aquellas características que definen a las y los archivistas audiovisuales de nuestra región.

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Aimed at leaders of institutional, official, non-official, community, activist, and self-managed archives, from and in Latin America, motivated by finding points of convergence in the practice of leading, managing, mobilizing, and sustaining projects or areas where audiovisual heritage is managed in the region.

This workshop proposes a space for collective construction based on guiding questions, where we will explore together what the competencies of an audiovisual archivist are in our region, and what specific skills we have had to develop according to our divergent realities: the influence of the current political and social climate and of governments, the notion of risk, adaptability, and advocacy in environments shaped by recurring critical situations.

Through participatory dynamics, we will invite both those with long careers and new leaders to share 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 from the Global North, and how we communicate and educate our audiences and communities of interest about audiovisual archives.

As a result of the workshop, we will collectively build a poster to be shared publicly, in which we can recognize ourselves and highlight those characteristics that define audiovisual archivists in our region.

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. 
The 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. 
Across 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.  
These situations highlight key tensions between harmonisation and diversity, cooperation and institutional constraints, and access ambitions and rights management frameworks. 
The 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. 
These dynamics have direct implications for audiovisual archives, particularly in relation to cross-border collaboration, rights management, and the circulation of materials and data. 
At 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. 
As 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. 
These perspectives reflect different but complementary functions within the cooperation process, showing how coordination, mediation and analytical tools contribute to structuring collaboration across diverse contexts. 
-RTS (Serbia) as Regional Coordinator 
RTS provides technical and organisational support to partners, helps define shared documentation practices, and pilots a working model for regional memory collaboration. 
-INA (France) as Trusted Third Party 
INA 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. 
-Matières Premières (France) as Heritage Analyst 
Through 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. 
Together, 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. 

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.
2 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.
In 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.
Alongside 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.
To 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.

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.


In 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.  


The 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.


The 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.
These 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.

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.


As 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. 


This 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.


The documentary series will be made available afterwards for all participants of the World Conference.

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.  

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. 


In 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. 


In 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. 

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.

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.

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).
Although 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.
In 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).

This presentation would be a review of a season delivered at the BFI entitled, Constructed, Told, Spoken: A counter history of Britain on TV, which retraced the establishment of Multicultural TV Units at the BBC, ITV, and Channel 4, in March 2026. My season told a chronological story of how this unique British phenomenon in television programming came to be, defining this timeline as a movement in television non-fiction. 


In this presentation, I intend to tell the story of the emergence of multicultural programming, illustrate how the season brought together a range of voices, and shed light on the conditions for establishing these units and the programming they provided for minorities in Britain. I will detail the archives I worked across and trace the emergence as it unfolded throughout the season.


The timeline is as follows: it began with the emergence of the BBC's immigrant programmes unit in the 1960's. Followed by a period of institutional absence for multicultural policy, during which anti-racist television was developed externally by activists and found a place on our screens through open-access slots in the 1970s. By the 1980s, a defined institutional lane had begun to emerge, peaking in the middle years with a clearly articulated political and social positioning grounded in community perspectives coached in this institutional voice. Ultimately, the season traced the movement's progression toward its eventual decline and the phasing out of multicultural units in the early 2000s.


My presentation will show the programmes and the development of this political and social position, as mirroring diversity in Britain, how it functioned as a counter-narrative to the news and how its preservation and rediscovery through the archive reframes this period.

RTÉ Archives has, for many years, developed meaningful partnerships with cultural institutions, community organisations and memory networks across Ireland and the Diaspora. Central to this work is a commitment to meeting communities where they are, recognising that meaningful engagement with audiovisual heritage happens both in physical public spaces and online environments that people already use and trust. Through collaboration with museums, libraries, cultural centres and creative community initiatives, RTÉ Archives is able to open the collections of Ireland’s public service broadcaster in ways that cannot be achieved alone, supporting engagement and dialogue across all island of Ireland and diasporic contexts.
Aligned with FIAT/IFTA’s 2026 theme, “Audiovisual Memories as Spaces of Dialogue”, the presentation illustrates how cross‑institutional and community partnerships enable audiovisual archives to function as dynamic civic resources. Working across physical public spaces, online environments and specially designed, curated applications, these initiatives demonstrate how innovative uses of audiovisual archival collections can support inclusive dialogue and meaningful engagement with shared histories across different communities, sectors and generations.

As concern mounts regarding the global climate crisis, the environmental impact of audio-visual archiving has been widely recognised as an urgent concern. Thus, it has become vital that archival institutions critically reflect on their praxis, their responsibility to the environment and to memory, and their narration of archival loss. In dissecting this, a pervasive tension is revealed between the professional aspiration for permanence and the stark reality of precarity. Unfortunately, this dialogic gap remains underexamined, particularly in the public-facing contexts where archives construct their identities. In response, the project at the heart of this presentation investigates how permanence, visibility and ephemerality are narrativised and communicated publicly by six FIAT/IFTA member institutions. Through a systematised audit of accessible catalogues, official communications, mission statements, websites, and social media presences, our goal is to better understand how these archives represent their purpose, negotiate discourses of loss, and make themselves visible (or invisible) in the digital landscape. 
This year marks the 5th and 10th anniversaries of two devastating fires at the Cinemateca Brasileira facility (2016 and 2021). With the FIAT/IFTA conference being held at an institution so familiar with archival loss, we feel it is both poignant and necessary for a discussion of permanence, visibility and ephemerality to hold a powerful presence in this space. Further contextualised by an increasingly critical climate reality and a plethora of rising geopolitical tensions, we also believe that in 2026, the notions of loss, legacy and mortality are more palpable than ever. In turn, the recent emergence of high-concept ultra-long-term media storage technologies, such as DNA-based data solutions, provides a stark contrast. As mass-digitisation projects and novel experimental technologies tease the potential of more permanent futures for cultural memory, we propose to initiate a dialogue between the institutions at the very heart of these debates.

Since 2023, the Caracol Television audiovisual archive has been working on the technical verification and digitization of its 16mm film collection. This includes more than 3,000 newsreels and program rushes that remained unseen or unrecognizable for generations of viewers for over 50 years.
In partnership with the Faculty of Arts at Javeriana University, we have been working on an unprecedented process: digitization using a Gugusse Roller, a "handmade" technique that has allowed us to uncover images of our country from the 1960s and 70s. With the support of visual arts students, we have begun a training program that encompasses all stages of working with this type of material: verification, preparation, digitization, digital preservation, and licensing for creative projects.


This presentation will not only describe the details of the process but will also highlight the use of open-source technology to overcome the lack of a scanner. In addition, we will reflect on the importance of creating pedagogical processes for creative uses of the archive in our context.

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

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

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

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

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

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

This presentation discusses the activation of audiovisual archives through pedagogical and creative practices developed in the Audiovisual Production Workshops at FGV CPDOC (Brazil), which completed ten years in 2024. The workshops are based on one of the largest collections of personal archives in Latin America and promote the production of short films using archival materials as both source and medium.
Since 2023, the workshops have been part of the project “New Perspectives on the Archive: Visuality, Circulation and Education in Women’s Archives” (FAPERJ/CNPq), focusing on women’s histories and the critical re-reading of archival collections. Through a practice-led approach, participants engage with archival documents not only as historical evidence but as material for reinterpretation, montage, and narrative construction.
The presentation examines selected films produced within this framework to explore how archival images are reactivated through editing processes that negotiate between institutional constraints, creative agency, and pedagogical goals. Particular attention is given to the tensions between technical, aesthetic, and ethical dimensions of archival reuse, including issues of visibility, silencing, metadata limitations, and representational bias.
By situating the classroom and the editing room as spaces of research, the paper argues that audiovisual practices can transform the archive from a site of preservation into a dynamic field of interpretation and circulation. In this context, montage becomes a critical operation that not only re-signifies images but also challenges dominant narratives, especially in relation to gender and the historical marginalization of women in archival systems.
The case study highlights how collaborative filmmaking processes can expand archival access, generate new forms of public engagement, and reposition audiovisual archives as active agents in the production of knowledge.

Based on the preliminary survey of the film holdings of the Museu da Imagem e do Som de Campinas (MIS-Campinas), this paper discusses how audiovisual archives within safeguarding institutions are currently strained by material deterioration, technological obsolescence, and new digital regimes of visibility. While photochemical and magnetic formats preserve traces of documentary, educational, amateur, and dissident practices that expanded democratic horizons of audiovisual culture, their survival is threatened not only by physical decay but also by exclusion from contemporary systems of description, circulation, and intelligibility. In this sense, the audiovisual archive is understood not as a mere repository, but as a space of arkhē: an instance of origin, consignation, and power in which it is decided what may be remembered, accessed, and activated in the future.
The research combines survey, identification, cataloguing, cleaning, and remapping of the film collection, approaching these procedures as critical practices of mediation and legibility. The case of MIS-Campinas makes it possible to question the position of local and regional archives in the face of the urgent need to preserve obsolete media while simultaneously building archival networks capable of connecting collections, communities, researchers, and public policies.
The paper argues that the future of these collections depends not only on digitization, but also on safeguarding policies, critical metadata, mediated exhibition practices, and cooperative infrastructures capable of resisting algorithmic standardization and the marginalization of non-hegemonic repertoires. From this perspective, MIS institutions may be rethought as polymorphic museums: hybrid spaces in which archive, exhibition, education, and community are articulated as forms of material, symbolic, and political resistance.

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

PAVIC – Audiovisual, Iconography, and Content Researchers is a Nationwide, a nonprofit professional association in Brazil. We were established to raise awareness of and give proper recognition to the research professionals working in cultural, artistic, educational, and entertainment markets.

Founded in January 2022, PAVIC brings together 196 research professionals. As an association, one of our key missions is to promote and strengthen this professional field, as well as to drive improvement and efficiency in the production processes within the audiovisual and cultural sectors, which directly enhances the quality of the final products.

In the audiovisual field, research professionals preserve the memory of the entire production process for films, series, and soap operas. This includes details about the raw materials—such as images, sounds, or characters, which is especially vital when dealing with archival materials.

In ongoing collaboration with audiovisual archive institutions, researchers actively engage in processes of reuse, reinterpretation, and cultural mediation of media collections, helping to preserve and celebrate this important memory.