The CEDOC Documentation Center of the Padre Anchieta Foundation (TV Cultura) is structured into five main areas: Audiovisual Collection, Library, History Center, Audio Archive, and Collection Access. With the exception of the latter, each area is dedicated to a specific type of documentation and is responsible for the preservation, management, and dissemination of its holdings.

The Audiovisual Collection is organized into seven specialized units: Film Library, Video Library, Photography, Digital Lab (Editing), Cataloging, Indexing, and Content Research. The Audio Archive comprises Cataloging and Digitization units. The Collection Access area, in turn, is responsible for providing access to the various types of materials, serving both individuals and institutions through licensing and exchange agreements, on either a paid or free basis.

The CEDOC modernization and digitization project began in July 2021 with the renovation of spaces and storage facilities to ensure the preservation of the collections. It was structured around four main pillars: the acquisition of both state-of-the-art and legacy equipment for analog-to-digital conversion; the renovation and implementation of eight technical storage facilities; the deployment of a Media Asset Management (MAM) system across all areas; and the professional training of new technicians and interns.

By early 2024, all equipment had been acquired and the renovation of the storage facilities had been completed. In addition, a team of 80 technicians, including 15 interns, was working within the new workflows across all areas of CEDOC.

By the end of 2025, the new MAM system implemented through the project—serving all areas of the TV network—was fully operational for the film, photo, and video collections, and undergoing customization for the remaining areas.

The Reuters Bureau Rushes Digitization Project addressed a critical preservation challenge: 15,000 hours of undigitized video and 45,000 photographs across 16 bureaus on 4 continents facing format obsolescence, inadequate storage, and threats from conflict and environmental disaster.

The content represents pivotal moments in history including rushes from 9/11, the Siege of Sarajevo and Putin’s first presidency. The greatest challenge was metadata paucity – handwritten notes, cryptic abbreviations, often illegible, making even digitized material undiscoverable. Our approach photographed tape cases to preserve original context, then deployed AI technology to generate time-based searchable metadata.

We built permanent infrastructure – the Reuters Media Ingest Hub: an integrated facility for the end to process of digitization, AI enrichment and ingest, with portable kit for on-site preservation in locations where material export is not feasible. This newly accessible content has directly supported 20+ documentary productions in 2025, with producers citing the material as transformative and video journalists reconnecting with decades of their work.

The methodology was shared at the FIAT/IFTA World Conference in 2025, for industry-wide knowledge transfer. This project demonstrated that strategic workflow design can make complex, at-risk collections with missing metadata both preservable and discoverable – ensuring journalism’s visual records remain accessible to storytellers who help us understand our shared history.

The Film Digitisation Service of the Archivio Storico Luce is a large-scale preservation programme dedicated to safeguarding one of Europe’s most significant audiovisual collections.

Carried out at Cinecittà in Rome, the project aims to preserve a unique audiovisual heritage spanning more than a century. It involves the digitisation of 13,000 film reels across a wide range of image and sound formats, many of which are threatened by physical deterioration and chemical decay. The initiative integrates traditional archival practices with advanced digitisation technologies, supported by state-of-the-art equipment and highly specialised in-house expertise.

Supported by the European Union’s NextGenerationEU programme, the project also required a significant, time-bound expansion of staff, with personnel recruited specifically for the duration and trained through structured knowledge-transfer programmes.

Beyond preservation, the initiative ensures long-term accessibility to Italy’s audiovisual heritage, making these historical images and sounds available for research, education, and future generations.

On October 2, 2026, television in the Netherlands will celebrate its 75th anniversary—a milestone that Sound & Vision (Beeld & Geluid) will celebrate grandly with the entire country. It will be a year filled with festive activities, but above all, a year in which we take an important step together with the public: completing our national television archive.

Our archive is not yet complete—we are searching for objects, clips, and personal stories to supplement the collection. These hidden treasures may have been preserved anywhere: in attics, in cupboards, or captured on old video tapes. This jubilee year offers the perfect opportunity to track down these missing links in our media history, secure them, and record the stories behind them.

That is why Sound & Vision is organizing a national search in which everyone can play a part. Whether you are a former TV maker, a loyal viewer, young or old—the entire Netherlands is called upon to look for television-related objects, photos, and recordings that make our archive more complete. Through an engaging public campaign and local events, we invite everyone to share their finds and the accompanying stories with us. Together, we will fill in the missing chapters of our collective television history.

This mission is more than just a search: it is also a gift to the Netherlands! Sound & Vision digitizes and archives the discovered recordings to ensure they are preserved for the long term. They will then be made accessible to everyone via our new online portal, The Treasury (de Schatkamer), while physical finds will be given a place in the Media Museum. There, visitors can admire them in exhibitions or within the archive itself.

In this way, our television heritage remains alive and accessible—now and in the future. This ensures that new generations also have the chance to discover the rich history of Dutch television.

The Reporters is a five-part audiovisual documentary series exploring television news production in late socialist Czechoslovakia through the work of individual journalists. Each episode focuses on one television reporter, combining archival footage with personal testimony to examine how news was created within a centrally controlled media system.
Based on archival research and oral history, the series investigates the relationship between journalistic practice, institutional constraints, and television’s role in shaping everyday reality. A distinctive feature of the project is its recontextualization of archival materials through the perspectives of their original authors, linking personal experiences with broader editorial and political structures.

The project is intended for both general audiences and media historians. Released on 1 April 2025, The Reporters is distributed through Czech Television’s platforms and accompanied by articles, discussions, lectures, and other public-facing activities, demonstrating the enduring value of archival footage.

Launched on October 3, 2024, data.ina.fr is a public platform developed by INA (French national audiovisual institute) to unlock the value of audiovisual archives by transforming them into long-term, interpretable data about the media treatment of global current affairs. Data.ina.fr proposes a new way of making sense of media archives by revealing trends, structures, and evolutions across time.

The project is grounded in two core ambitions. First, to create a tool for long‑term objectification of information by using audiovisual archives beyond their mere documentary value. Second, to promote AI literacy among the general public through educational infographics explaining how these tools work, full transparency about how data is produced and processed and by alert texts on detected AI hallucinations.

Developed collaboratively, data.ina.fr combines INA’s editorial expertise, its strong data and technological skills and reliable AI-powered media analysis. The platform is designed for a broad audience: journalists, researchers, students, educators, and citizens. It allows users to explore more than one million hours of analysed archives through clear indicators, comparable time series, and transparent methodological explanations. Each graphic is accompanied by pedagogical content explaining its scope, limits, and interpretation, ensuring that users understand what the data shows and what it does not.

One year after it was launched, data.ina.fr has become a reference for journalists, educators, scholars, and numerous professionals. In 2025 alone, over 3.5 million impressions were recorded on the website and its editorial extensions, a 138% increase from the previous year.

Accessible free of charge, data.ina.fr embodies a democratic approach to archives. It equips citizens and professionals with tools to explore, question, and contextualise the media landscape, reinforcing trust, transparency, and informed public debate. Doing so, it demonstrates how audiovisual archives, when activated through data, can become a living resource for society.

Oil, Black Blood examines how the global struggle for oil reshaped the modern world before, during, and after World War II. As mechanized warfare expanded on an unprecedented scale, oil emerged as the decisive resource that determined military capability, national survival, and imperial ambition. Nations no longer fought solely over territory or ideology, but over access to fuel that powered tanks, aircraft, ships, and industrial production.

Through rare archival footage, declassified wartime records, and interviews with leading international historians and experts, the episode traces how oil influenced critical wartime strategies and outcomes—from Germany’s drive toward synthetic fuel and the Eastern Front, to Japan’s southern expansion, and the Allied powers’ efforts to secure global supply lines. Oil shortages, embargoes, and strategic bombing campaigns reveal how energy vulnerability shaped the fate of entire nations.

The documentary also explores how the end of the war did not conclude the battle for oil, but instead transformed it. New alliances were forged, geopolitical influence was recalibrated, and the foundations of the postwar global order were laid around energy security. Oil, Black Blood reveals how decisions made in the shadow of war continue to define global politics, conflict, and power in the present day.

After 16 years in prison, the prison gates opened for Jack Unterweger on May 23, 1990. He had been sentenced to life imprisonment for murder but was released prematurely following petitions from the Austrian cultural scene. Behind bars, he had become a writer and gained fame as “prison poet”. His “successful rehabilitation” led to his early release.

While Unterweger was a welcome guest at parties in the following months, he murdered at least nine women in Austria, in former Czechoslovakia and in the U.S. – nearly all of them were sex workers. In 1994, one of the most spectacular trials in Austrian criminal history took place. Its outcome remained uncertain until the very end.

The three-part true-crime documentary “Vienna Killing: The Unterweger Story” sheds new light on the life of the Austrian serial killer – primarily from the perspective of his then-18-year-old fiancée, Bianca. The three-part series deconstructs the Unterweger myth and reveals the blind spots of one of Europe’s most spectacular criminal cases. Previously unpublished archival footage and secretly recorded phone calls from prison offer disturbing insights into the killer’s manipulative psyche.
Friends of the victims appear on camera for the first time and, in emotional interviews, provide insight into the Viennese milieu of the 1990s. Instead of portraying Unterweger as a sexy serial killer, the focus shifts to his victims. Biographical vignettes give the murdered women a voice and tell their stories beyond the headlines.

The intention of the Director Kirsten Brandt was to tell the Jack Unterweger case in a radically new way – from a female perspective: “Through this shift in perspective, we see Unterweger through the eyes of the women who came closer to him than anyone else. At the center is Bianca Mrak, who, as an 18-year-old pupil, was the fiancée of the serial killer and fled with him to the U.S. Her journey from Vienna to Miami becomes an emotional road trip navigating seduction, control, and the struggle for self-determination. Today, she speaks more openly than ever before about her relationship and her liberation.”
The three-part-series, a co-production by The Thursday Company and ORF, was broadcast in ORF on Oct 16, 2025.