At NRK, part of my work involves navigating the ethical dilemmas of publishing and curating historical broadcast archives for a contemporary audience. I operate under the core principle that a public broadcaster should have a low threshold for publishing content and a high threshold for removing it. My focus is to help balance the mandate of maximizing access to the archive in its original form with the crucial responsibility of protecting those who might be affected by content perceived as harmful or derogatory. We strive to ensure that access remains a democratic principle, without promoting values that could justify discrimination.

In practice, this involves dealing with outdated, stereotypical, or potentially offensive historical content. To manage this, we evaluate requests from contributors, explore the use of AI tools like sensitivity readers to identify problematic language, and focus heavily on curation for today's audience. I advocate for open archives where sensitive historical material is presented with appropriate context rather than being hidden away or falsified, ensuring the public can learn from the past while minimizing harm.

Ligia Farias is Head of the Documentation Centre at TV Cultura/Fundação Padre Anchieta, where she oversees audiovisual, and archival collections, as well as access and licensing, since 2020.

She has over a decade of experience at the Cinemateca Brasileira, working in project management, institutional relations, and access to audiovisual archives. Her work includes structuring user services and facilitating access to preserved audiovisual materials, alongside experience in international cooperation across cultural and public institutions.

TV Cultura/Fundação Padre Anchieta is a public television broadcaster linked to the Government of the State of São Paulo, from which it receives part of its funding. The remainder of its funding comes from its own resources. Its mission is to produce educational, cultural, and journalistic content based on ethical principles established in its bylaws.

Maartje Hülsenbeck is a lawyer, specialized in copyright. She advises the Netherlands Institute for Sound and Vision on copyright issues that arise in managing the collection and making it accessible. She develops policy on this topic and gives (internal) copyright workshops and presentations. Maartje has worked for the institute since 2013; before that she was a lawyer in intellectual property rights in Amsterdam. She is co-chair of the Dutch Copyright GLAM Workgroup, co-chair of the Value, Use and Copyright Commission of FIAT/IFTA (VUC) and is a member of the Dutch Copyright Association and the Association for Art, Culture and copyright.

Billy Segal Gezelius is Head of the IPBC-KAN Radio & TV Archives and leads the digitization project of the archives (formerly IBA TV). She is a graduate of the Faculty of Humanities at the Hebrew University of Jerusalem.

She has rich experience in legal copyright issues and strong skills in the preservation of various film and video formats. Since 2000, she has been a member of FIAT/IFTA and joined the Production Commission, where she took part in professional workshops and served as a member of the International Archive Award Jury from 2002 to 2017.

In 2005, she co-founded the Forum for the Preservation of Audiovisual Memory in Israel, which aimed to change audiovisual preservation legislation in the country. Between 2005 and 2011, she was chief editor of conferences dedicated to the audiovisual memory of Israeli history as part of the Jerusalem International Film Festival.

Media archive and communications professional with more than 20 years of experience in public service broadcasting. Specialized in media innovation, digital archive communication and cross-media format development. Extensive expertise in editorial work, project coordination (including EU-funded projects), teaching and human resources training.

Most of the ethical questions I encounter come up in two areas: the selection of content for television news (for instance, what counts as a representative portrayal of demographic groups) and social media. In the latter, the recurring question is often which editorial choices can still be ethically justified within the necessary shortness of the format, and which topics can realistically be communicated in such a reduced way while remaining appropriate for the audience and for ORF as a brand.