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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 …

Polish audiovisual heritage is a very important part of the cultural legacy of the country. Unfortunately the use of and access to Polish audiovisual archives is still in its initial phases. The Polish Ministry of Culture and National Heritage has made great strides towards solving the problems of access and limitations of use. In 2009 the ministry established the National …

Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the …

This is the foreword to the book ‘SOIMA: Unlocking Sound and Image Heritage‘. The book offers tips and advice from dedicated professionals from all corners of the world for the preservation and creative use of sound and image heritage. As a resource, it aims to interest collectors, users and educators alike, as it offers compelling examples and strategies founded in evidence-based research. …

Audiovisual archives are embracing the opportunities offered by digitization for managing their work processes and offering new services to a wide array of user groups. Organization strategy, working processes and software development need to be able to support a culture where innovation can flourish. Some institutions are beginning to adopt the concept of ‘two-speed IT’. The core strategy aims to …

Both traditional and more recent audiovisual carriers degrade. Even CD-ROMs have typically only a ten-year expected life span. In addition, playback equipment for both analogue and digital carriers will ultimately grow scarcer and more expensive to repair or replace. Archives and museums are inevitably faced with the decision of whether to preserve audiovisual carriers after their content has been digitized. …