FIAT/IFTA WORLD CONFERENCE
6-9 OCTOBER
HOST
São Paulo, Brazil – Cinemateca Brasileira – October 6-9, 2026
Screen Memories in Dialogue: Learning from Diversity
Memórias Audiovisuais em Diálogo: Aprendendo com a Diversidade
Media archives operate today in an environment shaped by constant transformation. Technological change, evolving media ecosystems, shifting institutional frameworks and growing social expectations challenge how audiovisual memory is preserved, managed, accessed and understood. In this context, archives are not only repositories of content, but active spaces where knowledge, practices and perspectives meet.
Under the theme Screen Memories in Dialogue: Learning from Diversity, the FIAT/IFTA World Conference invites professionals, researchers and practitioners to reflect on media archives as spaces of exchange, collaboration and mutual learning. Dialogue is understood here as a working principle: between institutions and communities, between regions, between professional cultures, and between past experiences and future challenges.
Learning from diversity means recognising that valuable knowledge emerges from different contexts, scales and traditions of practice. Across the FIAT/IFTA community, archives operate under highly diverse institutional, technological and cultural conditions. These differences are not obstacles to be overcome, but sources of insight that can enrich global archival thinking, inspire adaptation and foster more resilient and inclusive practices.
The conference seeks to create a shared space where experiences from broadcasters, film archives, sound archives, community initiatives, research environments and hybrid institutions can be discussed on equal terms. By bringing together perspectives from Ibero-America and beyond, the conference encourages contributions that highlight situated practices, regional innovations and collaborative approaches, while engaging with broader questions relevant to the international audiovisual archival field.
REGISTRATION
Early bird registration is now open!
All conference registrations include coffee and refreshments during the breaks and lunch provided at the conference venue.
FIAT/IFTA WORLD CONFERENCE 2026
REGISTRATION FEES
Early Bird
FIAT/IFTA MEMBER
€195.00
Early Bird rate (Euro)
SPEAKER
€195.00
Early Bird rate (Euro)
FIAT/IFTA NON-MEMBER
€240.00
Early Bird rate (Euro)
Other rates
SINGLE DAY
€95.00
1-Day regular rate (Euro)
This ticket doesn’t include access to the FIAT/IFTA social events.
Places may be limited.
STUDENTS (1-DAY)
€25.00
1-Day regular rate (Euro)
Students will be required to submit valid proof of registration at a university for the 2026-2027 academic year at the venue.
This ticket doesn’t include access to the FIAT/IFTA social events.
Places are limited to 20 participants.
GALA DINNER
€50.00
Regular rate (Euro)
Available for third parties interested in attending the Gala Dinner social event on October 8th.
This ticket doesn’t include access to the FIAT/IFTA World Conference.
Places may be limited.
TERMS & CONDITIONS
- Participants who cancel before September 15, 2026 will be entitled to a 50% refund of their registration fee. No refunds are possible for cancellations received after September 15, 2026.
- A participant who cancels may ask the FIAT/IFTA Office to transfer the registration to a colleague. A fee of 10% of the registration fee is charged for the replacements/transfers.
- Cancellations must be submitted in writing to FIAT/IFTA Office in order to receive any possible reimbursement.
- The participants shall bear any bank charges for international transfers.
- Refunds for no-shows are not possible.
- Until payment has been received, registration for the World Conference and any of its associated events will not be valid. Without a valid registration, participants will not be listed in the programme or in the list of participants.
- The FIAT/IFTA reserves the right to update individual registrations and invoices to reflect the registrant’s FIAT/IFTA membership status.
- The data submitted during registration will be used in the framework of the membership of the organisation mentioned above to FIAT/IFTA. This data will be treated according to FIAT/IFTA’s Privacy and Data Processing Statement.
The programme is correct at the time of publishing. Still, organisers reserve the right to alter it if and when deemed necessary, and the FIAT/IFTA Office reserves the right to make changes without prior notice to the parties concerned.
All World Conference and other arrangements are subject to alteration and cancellation at any time without prior notice due to factors that are outside of the organisers’ reasonable control. This will be at the sole and absolute discretion of the organisers. Should such events, such as Force Majeure, render the organisers unable to deliver such service, the organisers shall not be held responsible. The organisers cannot be held responsible for any damages and/or costs arising from any such alteration or cancellation.
CONFERENCE THEMES
AUDIOVISUAL MEMORIES
AS SPACES OF DIALOGUE
PRESERVING MEDIA HERITAGE: PRACTICES AND REGIONAL PERSPECTIVES
USING AUDIOVISUAL MEMORIES: ACCESS, REUSE, AND RESPONSIBILITY
TECHNOLOGICAL FUTURES OF MEDIA ARCHIVES
POWER, REPRESENTATION, AND VOICES IN AUDIOVISUAL MEMORY
PROGRAMME
If you’ve attended a previous FIAT/IFTA World Conference, you are familiar with the scheduling tool Sched. From their page, you can view the programme, or you can also download the Sched app on your phone and keep track of the event there.
The programme is correct at the time of publishing. Still, organisers reserve the right to alter it if and when deemed necessary, and the FIAT/IFTA Office reserves the right to make changes without prior notice to the parties concerned.
EXPERT ROUNDTABLES
The Expert Roundtables are small group discussions where professionals from across the audiovisual archiving community can exchange knowledge, reflect on shared challenges, and explore practical solutions on key topics. All roundtables take place in parallel. Each discussion is scheduled for approximately 30 minutes, followed by a brief wrap-up within the group, after which participants will rotate to a new table.
FIAT/IFTA WORLD CONFERENCE 2026
EXPERT ROUNDTABLES
Licensing archive materials for AI algorithm training
Brecht Declercq
Broadcast archive collections have become the “digital oil” of the AI age. As technology companies seek access to vast quantities of curated content and metadata, those responsible for these archives face difficult choices: should they license their collections for AI training, and under what conditions? This peer discussion will examine the opportunities, risks and governance questions surrounding AI licensing, from copyright and public value to ethics, accountability and institutional strategy.
Brecht Declercq (MA, MSc) is the Head of Archives at RSI, the public broadcasting of Italian-speaking Switzerland. From 2013 until 2022 he was responsible for the preservation of the Flemish audiovisual heritage at meemoo. From 2004 until 2012 he held several roles in digitisation, media asset management and access projects for the Belgian public broadcaster VRT. He led the FIAT/IFTA Preservation and Migration Commission from 2016 until 2019. He was FIAT/IFTA’s General Secretary from 2017 until 2020 and President from 2020 until 2024. He’s a frequent conference curator, presenter, guest lecturer, writer and reviewer. He advises policy makers, audiovisual archives and media organisations worldwide.
Archives & Ethics
Louise Broch
As a follow up of the FIAT/IFTA webinar in May and the workshop “Ethical Challenges in Broadcasting Archives” at the conference, this session gives the opportunity to openly discuss ethical considerations of AV-collections. When it comes to re-publishing harmful, biased and outdated archive footage, sensitivity and prudent handling is required. Attendees are welcome to bring their showcases and exchange their experiences on this field.
Louise Broch is an Archive Researcher with 25 years of experience with research and archiving in DR. Has experience with changing of research workflows to strengthen the relevance of the archive inside the corporation. Works also with curation and pushing of archive materials on different platforms including writing articles about archive materials on DR’s streaming platform.
The power of a taxonomy for the entire organization and content reporting
Patrick Monette
Audiovisual archives services are reinventing themselves by putting their expertise in information management more broadly to the benefit of the organization. The management of standardized information in the organization is sometimes an unsuspected force. A controlled vocabulary or an organizational taxonomy allows the description standardization that can be used in different archival and content production systems. Various advantages can therefore result from this, such as the identification of entities with a unique identifier allowing the information linking in the various systems, the simplification and the efficiency of cataloguing practices as well as the production reports for production monitoring purposes. And you, what do you think and/or experiment about it?
Patrick Monette is Senior Director at CBC Radio-Canada.
Archiving Non-Linear Audiovisual Content (TikTok, Instagram): From Production to Archive
Máire Aoibhinn Ní Ógáin
How, what & where to archive non-linear content? There is so much content being created and posted on third-party platforms. It’s difficult to have any visibility on what is being created and if indeed the production teams are saving any of the content or metadata. What is your experience? Share your showcases.
Máire Aoibhinn Ní Ógáin is TG4’s Head of Archives. TG4 is Irelands National Irish Language Public Services Media broadcaster. She was recruited as TG4’s Librarian in 1996 and appointed as the Schedule Manager in 1999 and Head of Archives in 2022. Máire Aoibhinn is a Steering Group member of Media Literacy Ireland and a Board Member of Access Cinema.
Protect your teams from violent and shocking images and sounds
Christine Braemer
How to protect your teams from violent or shocking images, sounds and content? Documentalists, archivists, librarians but also other professions (editors, image and sound restorers, technicians, journalists, etc.) dealing with violent audio or video – and even written – content are potentially exposed to so-called “vicarious trauma”. How is this issue addressed in the various archive departments? What best practices can be shared?
Christine Braemer graduated with a master’s degree in history, a postgraduate diploma in Publishing and Documentation, and a Higher Diploma in Educational Engineering. For ten years, she worked as an audiovisual documentalist at INA. She now works in the Training Department (INA Campus) as a training manager, in charge of the Digital Heritage and Multimedia Documentation training programs. She organises training courses in France and internationally, as well as Digital Learning courses. She also contributes to consulting missions on educational methods and adult training in the field of audiovisual archives.
Digital Preservation
Miroslav Čuljat
The roundtable will address awareness and practical aspects of Digital Preservation. What are our organisations doing or planning to do in this space? For example, have we implemented, or are we planning to implement, the OAIS model for preservation of digital archival objects? Do we adhere to recognised metadata standards? Do we perform any file integrity checks, and how do we do migrations?
Miroslav Čuljat is Manager for Archiving and Preservation at RTÉ. With over 30 years in the Media and Broadcast industry, Miroslav has been leading solution design and service delivery in some of the most demanding and high-profile broadcast environments in Ireland and the UK. Miroslav holds a Master of Science degree from the University of Zagreb, Faculty of Electrical Engineering and Computing in Croatia, a Diploma in Management from IBEC and Dublin Institute of Technology, and a Professional Diploma in Digital Transformation Management at UCD Professional Academy.
What Gets Archives Funded
Ali Blake
Archive and preservation teams rarely compete for budget on their own terms. Whether the case is commercial (licensing and monetization), risk-based (cost of inaction, format obsolescence, legal exposure) or mandate-driven (public value, cultural obligation), most institutions default to one case when a different one may land better with their leadership. This roundtable brings together archivists and preservation leads to compare what has actually worked internally, and what hasn’t, when making the case for investment. Bring your own funding battles, won or lost.
Alistair Blake currently heads the Archive Team at Reuters News Agency, where he leads archival research and archive operations, including large scale digitisation programmes. His expertise includes digital asset management, rights and licensing, metadata, and information management.
Indigenous Peoples and Media Archives
Kris Clemens
This roundtable will discuss considerations related to Indigenous Peoples and media archives. Topics may include ethical considerations related to racist/harmful depictions; navigating copyright and licensing policies to provide access for Indigenous Peoples to their cultural and linguistic knowledge; Indigenizing metadata; and avenues for greater collaboration between media archives and Indigenous Peoples.
Kris Clemens is a Senior Advisor of Indigenous Strategy at CBC/Radio-Canada, Canada’s public service media organization. Kris is a Red River Métis citizen with roots in Winnipeg, Manitoba. She holds a Master’s degree in History from York University and a Bachelor of Applied Arts in Radio and Television production from Toronto Metropolitan University. Her current role involves supporting greater alignment between CBC/Radio-Canada’s archival practices and the Steering Committee on Canada’s Archives’ Reconciliation Framework. The Framework responds to the 2016 Canadian Truth and Reconciliation Commission Report, providing archives and archivists with a blueprint to guide reconciliation with the First Nations, Inuit, and Métis governments, communities and community members represented in their archival collections.
SPONSORS
For more information, click on the sponsor’s logo.
GOLD SPONSORS
Amazon Web Services
AWS for Media and Entertainment (M&E) provides the most purpose-built capabilities of any cloud—including dedicated services, solutions, and partner offerings specifically for media and entertainment use cases—to help customers tap into cloud expertise and innovation across six M&E solution areas: Content Production; Media Supply Chain & Archive; Broadcast & Live Production; Direct-to-Consumer & Streaming; Data Science & Analytics, and Monetization. With the largest community of industry partners, AWS for M&E makes it easier for industry customers to select the right tools and partners for their highest-priority workloads, accelerate production launches, see faster time to value, and create new paradigms for audience experiences.
Many M&E organizations have decades of content and footage stored in a vault or on a collection of hard drives, with little to no ability to search their content libraries due to missing metadata. Understanding what resides in their libraries would enable these companies to utilize existing content as a means to cost-effectively create new content for their audiences. They need a solution to both migrate existing content that is stored on premises to a modern repository, as well as apply metadata (in some cases retroactively) to identify content that can be re-purposed and monetized. Customers can accelerate migration of on-premises archives to the cloud to better manage and monetize legacy content. They can use AWS Media Intelligence Workflows to analyze video, images, and/or audio to generate valuable metadata upon content migration, and reduce media storage costs while improving search function and monetization.
Piql
Digital Preservation for the Future
PIQL guarantees the preservation of humanity’s digital legacy and the world’s heritage for future generations through a unique approach. We ensure that knowledge remains authentic, accessible, and never forgotten.
SILVER
SPONSORS
MWA Nova
Established for years and built on an almost 100-years heritage on German engineering ingenuity, MWA Nova is a passionate leading manufacturer of versatile film and audio scanning equipment and a unique and solid partner to film and broadcast archives and also postproduction companies world-wide.
Experience, quality and innovation are the three main characteristics of their systems for audio and film post production and archive applications.
MWA Nova currently offers more specialist solutions for the actual physical transfer and replay of celluloid, nitrate and magnetic film for archival purposes than any other single manufacturer.
Based on our small gauge film scanner flahscan NOVA, we have developed a special configuration for broadcast archives that can digitize 16mm images and SEPMAG material cost-effectively and with newest technology.
Equipped with a 4k sensor, the flashscan NOVA together with the new sound follower NOVA T can digitize mostly 16mm film into all common broadcast formats.
SDVI
SDVI is an Emmy® Award-winning supplier of cloud-based media supply chain technology that empowers organizations to optimize content ingest, processing, packaging, and distribution operations. The company’s Rally media supply chain platform helps organizations create a scalable and responsive infrastructure that provides true business agility, operational efficiency, and process intelligence. www.sdvi.com
BRONZE
SPONSORS
VENUES
CINEMATECA BRASILEIRA
The FIAT/IFTA World Conference 2026 will take place at Cinemateca Brasileira, São Paulo’s legendary film archive and one of the most significant audiovisual heritage institutions in the world. It has spent nearly eight decades at the heart of Brazil’s cinematic memorym preserving around 250,000 film reels and over one million documents related to cinema, making it the largest and most significant film archive in Latin America.
Housed in the beautifully restored former municipal slaughterhouse —a protected heritage site designed in 1887 by architect Alberto Kuhlmann— the Cinemateca’s red-brick buildings blend 19th-century industrial architecture with modern restoration facilities. Its gardens, screening rooms, library, and event spaces offer a setting that is both historic and deeply alive.
Largo Senador Raul Cardoso, 207
Vila Mariana, São Paulo
Mezanino – Av. Pedro Álvares Cabral, 1301
Vila Mariana, São Paulo
VISTA CAFÉ IBIRAPUERA
Welcome Drinks
The conference welcome reception will be held at Vista Café Ibirapuera, one of São Paulo’s most spectacular settings for an evening gathering. Perched on the rooftop of the building designed by Oscar Niemeyer in the 1950s —now home to the Museum of Contemporary Art of the University of São Paulo— the space offers a sweeping panoramic view over the green expanse of Ibirapuera Park, the Obelisk, the Bienal Pavilion, and the city skyline beyond.
GRANDE OTELO FOYER
Sponsors Area, Gala Dinner,
Breaks, Poster Session
OSCARITO FOYER
Newcomers Breakfast
Expert Roundtables
GRANDE OTELO
ROOM
Conference Room
OSCARITO
ROOM
Conference Room
LYGIA
GROUNDFLOOR
Conference Room
TRAVEL ADVICE
Travelling to São Paulo
PLANE
São Paulo is served by three airports. Most international flights arrive at Guarulhos International Airport (GRU), located about 35 km from the city centre. From Guarulhos, CPTM Line 13 (Jade) connects to the city’s metro network via Luz Station in approximately 30 minutes; a pre-booked private transfer is also a convenient option for first-time visitors. For domestic travellers within Brazil, Congonhas Airport (CGH) is the better choice: it sits just 8 km from the city centre and is close to many of the conference hotels.
BUS
Bus is a popular and affordable option for travellers arriving from other Brazilian cities or from neighbouring South American countries. The Tietê Bus Terminal is the largest in Latin America and operates 24 hours a day. The terminal is served by the Portuguesa-Tietê metro station (Blue Line 1), making onward travel into the city straightforward. A second terminal, Barra Funda, serves routes to many cities in São Paulo state and to Bolivia, and is also integrated with the metro and suburban train network.
CAR
Driving into São Paulo is an option for those coming from nearby cities in São Paulo state. However, the city is known for severe traffic congestion, particularly during rush hours (7-9am and 5-7pm). If you do arrive by car, we recommend leaving it parked at your hotel and using public transport or ride-hailing apps to get around during the conference.
Accomodation
The conference venue is located in the Vila Mariana / Vila Clementino area in São Paulo’s South Zone. The nearest metro stations are Hospital São Paulo (Lilac Line 5) and Vila Mariana (Blue Line 1). The following hotels are all within convenient reach.
Green Place Ibirapuera
Located in the Vila Mariana district, close to the Hospital São Paulo metro station and Ibirapuera Park. Offers free Wi-Fi, pool, sauna, and buffet breakfast. A solid mid-range option very close to the venue.
Travel Inn Hotels Ibirapuera
Well-regarded hotel in the Ibirapuera area, close to the park and within easy reach of the venue by metro or taxi.
Blue Tree Premium Paulista
Near Paulista Avenue, São Paulo’s main business and cultural spine. Slightly further from the venue but excellent transport links and a prime location for exploring the city.
Transamerica Prime International Plaza
An upscale option in the Paulista corridor. Well-suited for international delegates looking for business-grade facilities.
Hotel Trianon Paulista
Conveniently situated near the Trianon-MASP metro station on Paulista Avenue. Good access to the venue via metro (Green or Lilac lines, one transfer).
Public Transport
The metro system operates six colour-coded lines and covers 110 km across 98 stations, running daily from 4:40am to midnight (1am on Saturdays). A single fare costs R$5.40 (approximately USD 1). The Cinemateca Brasileira is a short walk from Hospital São Paulo station (Lilac Line 5) and Vila Mariana station (Blue Line 1). Most conference hotels on or near Paulista Avenue are served by the Green Line (Line 2) or Lilac Line (Line 5), making metro travel between hotels and the venue entirely feasible.
The Bilhete Único card —São Paulo’s integrated transport card— works on buses, metro, and suburban trains. Apps like Moovit and Google Maps work well for route planning.
For evening travel or if you’re unfamiliar with the city, Uber is widely available and reliable. São Paulo has extensive Uber coverage, including the city centre and Paulista Avenue. The app 99 (a Brazilian ride-hailing alternative) is also popular locally.
General Visa Advice
If you require an invitation letter for the FIAT/IFTA World Conference 2026 while applying for your visa, please email our General Secretary. We will do our best to provide you with one.
Want to become a sponsor for the FIAT/IFTA World Conference 2026?
Please help us plan our sponsorship campaign by letting us know if you are interested. We currently have Bronze sponsorship opportunities still available.
If you would like to learn more, please contact the FIAT/IFTA Director for Partnerships and Sponsorship at sponsors@fiatifta.org
PREVIOUS EDITIONS
- 2025
- 2024
- 2023
- 2022
- 2021
- 2020
- 2019
- 2018
- 2017
- 2016
SOCIAL EVENTS
OCTOBER 6th | 6:00 PM – 7:30 PM
Welcome
Reception
Attendees
Free access with registration.
Students
Not included in the registration.
OCTOBER 7th | 8:30 AM – 9:30 AM
Newcomers’
Breakfast
Attendees
Free access with registration.
Students
Not included in the registration.
OCTOBER 8th | 7:30 PM – 11:30 PM
Gala Dinner
& Awards Show
Attendees
Free access with registration.
Students & Third Parties
Registration is available for a fee.
OCTOBER 9th | 6:00 PM – 7:30 PM
Closing
Drinks
Attendees
Free access with registration.
Students
Free access with registration.