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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. …

In the broadest sense, archives are an embodiment of cultural artefacts that endure as signifiers of who we are and why. They are both a place of representation of these signifiers and their institutional form, providing tangible evidence of memory as well as defining memory institutionally within prevailing political systems and cultural norms. The principle of offering equal and open …

This paper summarizes the preliminary findings of the second phase of a research project entitled Digital Challenges and Alternatives for the Safeguarding and Dissemination of Public Audiovisual Archival Heritage (2013–2016). The final phase, lasting three years, is currently in progress and will finish in 2019. The project has collected data on audiovisual archives across Brazil, inquiring about collections scopes, environments, …

There are limited training options for audiovisual archivists, with most formal courses centred in Europe or the United States of America, but high costs can prevent people working in audiovisual archives from accessing these opportunities. However, there are significant collections of audiovisual heritage spread across the globe, not the least in Southeast Asia and the Pacific region, that are at …

Since 2003, the Moving Image Archiving and Preservation Program (MIAP) at New York University has graduated nearly 90 new moving image preservation professionals. Practices for moving image archiving and preservation have changed dramatically since the programme began. In addition, ‘born-digital’ productions have become the norm. Thus, MIAP has needed to continually adapt to the increasingly broad nature of heritage collections, …

It is a well-known fact that there has been extensive documentation of African traditional arts in post-colonial Africa, which has contributed to the growing accumulation of field recordings in Africa that could form the nucleus for archives in individual African countries. These include private collections as well as recordings at broadcasting and television stations; government ministries such as Tourism, Culture …