FIAT/IFTA World Conference 2026

Sub-Title: Building Together the Future of The Profession


In 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.
 
As 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.
 
The Think Tank missions are to:

• Monitor 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. 
It will then launch its first activities, at the service of the professional community.
 
This Discussion panel aims to present and discuss emerging talking points and invite the audience to add to our story, through interactive polls.
 
It will bring together 4 participants (names to be confirmed):

• A representative of the FIAT/IFTA
• A representative of the training and education sector
• A representative of a broadcast/film archive of the south american region
• A representative of a regional archive holding TV, Radio and/or Film collections

If 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.

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.
The 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.
In 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.
Although 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. 

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.
The 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.
CTAv 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.

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. 

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).
The 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.
This 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.
This 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.

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.


For 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.


This 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.


Drawing 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.

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.

This 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.

The 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.

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.
When 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.
In 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.
During 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.
In 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.

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 
the 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.
This 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.

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.

Cinemateca da Quebrada is a community-based audiovisual archive created in the outskirts of São Paulo, Brazil, as a response to the historical erasure and misrepresentation of working-class and peripheral communities within official media archives.
The project focuses on collecting, digitising and activating films produced inside these territories, many of which have circulated through informal networks such as pirate DVD stands, independent productions and grassroots audiovisual initiatives. These images, often excluded from institutional preservation, constitute a vital part of contemporary audiovisual memory.
Rather than functioning as a traditional archive, Cinemateca da Quebrada operates as a living and collective platform. Through cineclubs, public screenings and educational actions, the archive is constantly reactivated in dialogue with the communities from which it emerges. In this sense, preservation is inseparable from circulation, and memory is understood as a dynamic and shared process.
The project also engages in transnational collaborations, notably with the Cinemathèque Idéale des Banlieues du Monde, fostering exchanges between peripheral territories in Brazil and France. These dialogues expand the understanding of audiovisual memory beyond national frameworks, highlighting common experiences of inequality, migration and resistance.
This proposal reflects on the challenges of building an archive from the margins: how to preserve without institutional support, how to legitimise informal images, and how to construct memory as a tool for political agency. By sharing this experience, the project contributes to rethinking archival practices in more inclusive, decentralised and community-driven ways.

Audiovisual materials are experienced through screens and speakers and in the 21st century these can be found in every home, class room and pocket, providing an opportunity to massively expand access to the audiovisual collections. For the past three years, the National Film and Sound Archive of Australia (NFSA) has been renewing its approach to collection sharing and contextualisation across key external channels including YouTube, Facebook and Instagram. In March 2026, NFSA released an entirely new website designed as an online audiovisual museum. It provides access to 5,500 items from the collection, with more to be added regularly, along with curatorial notes and longer form journalism exploring the stories behind the clips. Designed to be appealing to the broadest possible audiences, the website is a resource of Australian history, of the diversity and impact of audiovisual forms, and offers a fun way to relive pop culture memories. 


NFSA is Australia's national audiovisual collection. Collecting began in 1935 making it one of the longest established public collections in the world. Over the decades, collecting strategies have changed and adapted in response to technological and cultural shifts. Today, the collection includes almost 700,000 individual works that span all formats from celluloid to interactive digital, and from factual and news recordings to games, music, broadcast, sports, social media and advertising. With such a broad scope, the collection offers potential to all Australians for inspiration, learning, research and enjoyment.


This paper will show how NFSA developed its multi-channel content distribution strategy, from staffing structures to market research driven insights, rights management, audience development and platform build, and will provide a snapshot of user responses six months from the launch of the website.

In contemporary broadcast television, audiovisual archives have moved well beyond preservation and historical reference. When placed in the hands of editors and curators working within promotional content, they become powerful narrative tools capable of connecting audiences across generations through emotion, memory and cultural identity. This presentation offers a practice-based perspective on how archival footage can be reinterpreted through montage editing to create new narratives that resonate with contemporary audiences.


Drawing from case studies developed at TV Globo, Brazil's largest broadcast network, the presentation examines promotional campaigns that combined archival footage from multiple decades to generate emotional continuity between past and present. These include national campaigns such as the FIFA World Cup, the Olympic Games, Formula 1, the 70th anniversary of Brazilian telenovelas, and the 50th anniversary of Roberto Carlos' iconic year-end television special. Each of these events carries a strong intergenerational dimension, having been experienced by different audiences over time.


A central element of this process is the curatorial work that begins before the edit: navigating broadcast archives in search of emblematic gestures, movements and emotionally charged moments with the potential to resonate across time. Once identified, these fragments are joined through match cut montage, transforming disconnected historical scenes into a single, continuous flow in which past and present coexist.
The presentation argues that montage editing functions as a form of cultural mediation that activates archival memory and reinforces broadcast television as a living repository of collective experiences. Rooted in a Brazilian context, it contributes to broader global discussions in the field, showing how the creative reuse of archival footage can introduce younger generations to cultural moments they never witnessed firsthand and transforming the broadcast archive into a gateway for intergenerational discovery.

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

The Archive establishes itself as a living space for creation, innovation, and value generation. In a landscape driven by artificial intelligence, a new form of leadership emerges: the Archive professional who also acts as a content producer, strategic curator, and connector within the media ecosystem.
With the support of AI, knowledge that was once built exclusively through manual descriptions expands. Technologies begin to uncover relationships, contexts, and opportunities hidden within content. This professional understands the Archive as an integral part of the media production process.
All of this happens without losing what is essential: preserving valuable material, caring for raw footage, maintaining organization, and defining what should be kept as heritage and collective memory.
The future of the Archive does not break with its foundations—it amplifies them. And it positions this professional as a bridge between memory, technology, and the creation of new futures.

The Importance of Archives in Non-Fiction True Crime Series
The true crime genre has become one of the most widely consumed formats in contemporary audiovisual culture. From classic documentaries to series on digital platforms, one of its essential characteristics is the use of archival materials: police recordings, news footage, trial tapes, photographs, home videos, or excerpts from television programs. These elements are not merely visual resources; they form the foundation that provides credibility, depth, and legitimacy to criminal storytelling. I will talk about 

1. Archives as a guarantee of authenticity
2. Archives as a narrative tool
3. Archives and collective memory
4. Archives as a space of power and ethics
5. Archives as an instrument of public truth
6. The role of the archivist in non-fiction true crime series

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

The TV Cultura Documentation Centre (1969) brings together an unusual variety of materials for a TV archive. Cedoc is responsible for implementing preservation, cataloguing, digitization, and dissemination actions for the collection under its care.The first challenge of the Cedoc Modernization Project, which began in 2021, was to separate each media and item, with the goal of safeguarding the originals represented by a vast range of materials to be preserved. The collection contains nearly 1 million items, including documents, props and scene mock-ups, objects and models that make up sets and studio scenery, a pinacotheca with sculptures and paintings from different eras created by artists now recognized for TV program scenery, a technological arsenal for telling the history of TV, up to thousands of open-reel videotapes with recordings of radio stations AM and FM, thousands of videotapes from Quadruplex to the last formats, 16mm films, a photographic collection documenting the history of TV, and the making of hundreds of programs, and a library containing publications used as sources by the TV program production teams.The purpose of this presentation is to show how each sector of Cedoc relates with each other and to current TV production, how the archive is transformed into digital media and reused for new TV productions, and what strategies are used for access and licensing, considering the paradigms of audiovisual archives in the digital age. Also, the implementation of the media asset management, especially when data came from all sorts of databases developed internally, at different times, by the Engineering Department, to support audiovisual content search tools archived in the digital repository.

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

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

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

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

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