TAC Fest 2025 Pages
Second Call for Entries (issued 29 July 2024)
We invite you to submit entries now for the 2025 edition of The Archaeology Channel International Film Festival, the 22nd annual edition of TAC Festival. This is one of only two international competitions for this genre in the entire Western Hemisphere and a wonderful showcase for your work. Our deadline for receipt of entries is October 15, 2024. TAC Festival 2025 takes place May 14-18, 2025, in the Sheffer Recital Hall of The Shedd Institute and at other downtown venues here in Eugene, Oregon, USA. To enter, please use our Film Freeway page. Please read the general rules and guidelines carefully. Submitting your entry via FilmFreeway is an acknowledgment of all rules and conditions and acts as an electronic signature.
For TAC Festival 2024, we reviewed 77 titles from 24 countries and selected 27 to screen in the Sheffer Recital Hall. By all measures, this was one of the best groups of films in the history of TAC Festival, which began in 2003. In the 21 years of TAC Festival so far, we have received entries from 94 countries. In this coming year, we hope to continue the trend toward ever-improving film quality.
Here are some important facts about our entry regulations and procedures:
- We rely on you for information about the film. Please be very careful to enter the correct film title as well as the complete and correct information for crediting the film makers.
- We accept all entries, regardless of running time or topic. Be advised, however, that if your topic does not relate to the human cultural heritage or the human past or the investigation of such subjects, it will be at a serious disadvantage in the competition.
- For entry review, please upload a downloadable digital file of your film to Film Freeway. Alternatively, you can use any standard file transfer service. You can also request to use our FTP file upload system.
- Our standard film file entry and screening format is 1080p (Full HD or FHD [full high definition], resolution of 1920 x 1080 pixels). Do NOT use 4K files.
- To be fair to smaller producers, we have a limit of two entries per producer. By “producer” we mean the person or group of persons who directly made the film. However, it is perfectly acceptable for a distribution company to submit films from two or three or more different producers, as long as these producers are separately identified and credited.
- Entrant distributors must provide assurance through their signature that the producers of the entered films have agreed to their entry in TAC Festival.
- Films must have been produced in 2018 or later and must be in English or have English subtitles.
- You must complete the Film Summary section.
- If you are interested in making your film available for sale to our Festival audience, please inform us of that and let us know the purchase procedures. If you would like us to assist you in making your film available for sale, please contact us so we can discuss ways to accomplish that.
- Be sure to read our "General Rules" and “Submission Guidelines” sections, below, for important information regarding your film entry.
Please do not delay in submitting your entries! Consider that a flood of entries in the last week will slow down our review and notification process, so you can help us a great deal by sending your entries now. In previous years, some entries regrettably were rejected because of errors in entry data or problems with the film review files. If you allow plenty of time for these problems to be resolved, you can help assure that you will not be excluded from consideration. Also, we encourage you to make plans to attend the Festival to represent your films and also to participate in our Conference on Cultural Heritage Media.
ENTRY DEADLINE: October 15, 2024. All entry materials, including the entry text information and the digital film file, must be received by this date. This is not a postmark deadline.
GENERAL RULES
Submission to the 2025 edition of The Archaeology Channel International Film Festival (TACIFF) constitutes an agreement with all Festival terms and conditions and permission to exhibit the work during the Festival if selected. Entrants warrant that they have the legal right to submit the work to TACIFF, that all statements made in this application are true and accurate and that all necessary rights and clearances have been secured to exhibit the work at the Festival in Eugene, Oregon, USA.
To be eligible for the 2025 TAC International Film Festival, submitted work must have been completed after January 1, 2018.
Work accepted to screen at the Festival will be programmed in competitive and non-competitive categories at the sole discretion of TACIFF. Venue(s), program time(s) and number of screenings of selected work are also at the sole discretion of TACIFF. The number of scheduling slots available for competitive and non-competitive narrative features, documentary features and short films may vary from year to year.
TACIFF DOES NOT provide screening fees or honorariums for submitted work — or for any film screening as part of the Festival’s juried competition. Films not accepted into the juried competition may still be eligible for audience awards, as determined by the TACIFF programming committee.
TACIFF may deny acceptance of any film at its sole discretion. ENTRY FEES, IF ASSESSED, ARE NON-REFUNDABLE.
Digital film copies must be provided for submissions to be reviewed by the TACIFF programming committee.
Entrants will be notified of their submission’s selection status on or before January 1, 2025.
All films must be in English or with English sub-titling. Any costs necessary to deliver the exhibition file to TACIFF in the required format, or for any necessary subtitling, are the sole responsibility of the entrant.
Entrant also agrees to allow TACIFF to keep a copy of each submission in the TACIFF Video Bar, should it be accepted as a Festival entry. The Festival Video Bar allows audience members in Eugene to enjoy films that have been submitted and accepted to the Festival on individual viewing stations on demand, outside of any scheduled screening times, but only from May 15 to 18, 2025. (To opt out of the TACIFF Video Bar, please notify TACIFF in writing by February 1, 2025.)
If the submission becomes an "Official Selection" or wins a Jury or Audience Award, TACIFF requests that this be noted on promotional materials. Festival laurels are available to all Official Selections and award winners.
All materials shipped from outside the United States must be sent "free domicile" to the TACIFF office, with all transportation charges, duties and taxes prepaid by the shipper. TACIFF will not handle customs clearances, so please be sure to include all of the proper customs documentation required by your shipping service.
Although every possible care will be taken with exhibition material in our possession, TACIFF is not responsible for loss or damage. Please do not send originals, special prints or master copies.
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Submission Guidelines:
This, the 22nd edition of The Archaeology Channel International Film Festival, features films produced between 2018 and 2024 about archaeology, cultural heritage and indigenous peoples. Fees will be assessed for those submitting films. These fees contribute to growing the Festival, for which we have a $10 USD charge. ENTRY FEES ARE NON-REFUNDABLE. See further details posted on The Archaeology Channel (www.archaeologychannel.org/festival). ENTRY VIA FILM FREEWAY IS THE PRIMARY PROCESS. YOU MUST COMPLETE ALL INFORMATION REQUESTED FOR YOUR FILM TO BE OFFICIALLY ENTERED. REFER TO OUR CALL FOR ENTRIES FOR FURTHER INFORMATION OR CONTACT THE FESTIVAL: This email address is being protected from spambots. You need JavaScript enabled to view it..
SUBMISSION PACKETS (NO LATER THAN THE DEADLINE) MUST INCLUDE
- Completed entry process on Film Freeway for each film submission, including payment of entry fee. (For consideration for a fee waiver, contact: This email address is being protected from spambots. You need JavaScript enabled to view it., with subject: Festival Fee Waiver)
- The film synopsis in English, with no fewer than 86 words no more than 149 words. We rely on you for information! Read the Film Freeway form carefully and be accurate and complete!
- For film review, please allow the download of your film on Film Freeway or provide an alternative method. Maximum file size allowed: 5 GB. Please do not use any 4K files.
- A maximum of two films by each entrant producer may be submitted. Distributors may send films from multiple producers (limit of two per producer). Entrant distributors must provide assurance that the producers of entered films have been contacted and have agreed to the film entry.
- Films must have been produced in 2018 or later and must be in English or have English subtitles.
The Archaeology Channel Conference on Cultural Heritage Media, organized by Archaeological Legacy Institute (ALI), invites interested parties to gather for the discussion of audiovisual media for the study, preservation and promotion of cultural heritage. This gathering is a collaborative effort to further the development of cultural heritage media as a strong and positive influence for people everywhere. We wish to focus on topics of interest to cultural heritage professionals, media professionals and all those interested in applications of cultural heritage media.
Our goal is to create an unparalleled worldwide networking opportunity for cultural heritage filmmakers and others interested in the making and uses of cultural heritage media, including archaeologists, indigenous groups, musicians, artists, tourism operators, journalists, educators, historic preservation organizations, and others.
TAC Conference activities will include symposia, presentations and forums. TAC Conference is held as a part of the 22nd annual edition of The Archaeology Channel International Film Festival, a juried competition in the cultural heritage film genre and a celebration of cultural heritage media. The TAC Conference venue is downtown Eugene, Oregon, USA, at a venue to be announced.
Applicable topics may include the uses of audiovisual media for at least these fields and possibly others as well:
- Archaeology
- Art
- Education
- Film
- Historic Preservation
- Indigenous Cultures
- Journalism
- Music
- Tourism
Potential stakeholders include at least these groups:
- Artists
- Cultural heritage organizations
- Cultural tourism organizations
- Educators using cultural heritage media in curricula
- Equipment & software vendors for the film industry
- Film and TV distributors
- Filmmakers
- Foundations supporting cultural heritage film production
- Government agencies using media to promote cultural heritage
- Indigenous groups
- Museums
- Musicians
- Organizations and businesses making and using cultural heritage media
- Professional archaeological organizations
- Publishers
- Students of related disciplines
Attendance at the Conference requires registration, which gives you access to Conference presentations and symposia as well as the film screenings of The Archaeology Channel International Film Festival 2025. Conference registration involves a fee of $100 prior to April 1, 2025, and $130 beginning April 1, 2025. The registration deadline for presenters is January 31, the same date as the abstract deadline. To register, submit the Conference Registration Form (PDF / DOCX).
A central activity at the Conference is the exchange of ideas through formal presentations, symposia and forums. We encourage participation in this manner from all quarters. To take part in this way, please review our Call for Abstract Submissions and the Abstract Submission Form.
Please submit Conference-related questions to This email address is being protected from spambots. You need JavaScript enabled to view it.
Frequently Asked Questions (FAQs)
I’m an archaeologist. Why should I attend? What’s in it for me?
Archaeology is not being served well by standard media, nor are other professions that deal in cultural heritage. To ensure that media serve your interests, you and other interested parties need to play an active role in media development. You should attend and participate in order to add impetus to this movement within your profession. Further, by taking part, you will connect with a large network of like-minded people and organizations and thereby enhance your own career development in an area that is sure to become more and more important.
Why should SAA members participate?
The SAA (Society for American Archaeology) has always encouraged its members to take an active role in public affairs. Over the past several years, prompted by reality TV shows that caused concern among the membership, the SAA has assembled task forces to consider how to influence and employ media to deliver our messages about the ethics and value of exploring the human past. However, task forces represent only a first step. TAC Conference on Cultural Heritage Media is a logical next step, involving archaeologists in the media development process itself. We encourage our colleagues to:
Stop complaining about media portrayals of archaeology and do something about it.
Get familiar with media people and the media process.
Play a concrete role in shaping media to deliver the true messages of archaeology.
Help archaeology take a leading role in media programming development. Share your ideas through a professional paper, symposium or forum.
Be part of the group that launched a new vision for cultural heritage media in the 21st Century.
What is “audiovisual media”?
The word “media” is used in many different ways, so we want to make clear that our focus is on the use of moving visual images (primarily cinema and video productions) and audio productions (such as radio and audio podcasts as well as movie and video sound tracks). We are not referring to print or Web media, although publishers and Web sites certainly depend lots on video to reach their audiences.
Why are you organizing this Conference now? Why is this an important time to discuss cultural heritage media?
At this point in time, the media world is in a state of flux because of developments in audiovisual technology and a widespread exploration of and experimentation with new media. Professional disciplines such as archaeology and education are searching for the best uses of media to convey their messages and information to students and other members of the public. Filmmakers are testing new ways to put their productions in front of audiences and the public is diversifying the ways by which they experience film, video and audio programming. Old media business models are losing their effectiveness in the new media environment, so producers are exploring new ways toward financial viability.
What important issues can be addressed by a Conference such as this?
We see an opportunity and a need to bring together a diverse array of cultural heritage media stakeholders worldwide in one place at one time to have a major conversation about the future of this genre. Some important questions need to be addressed. For example, to what extent are decisions about media content determined by financial forces? How can independent producers ensure adequate pay for their work? How can producers break into the mainstream of TV program and movie distribution? How can audiences be sure to get accurate and authentic information in the media they experience? How can archaeologists and other cultural heritage researchers suitably convey their perspectives to the public? How can educators find the best media tools to put in front of their students? How can indigenous groups be sure to have their perspectives properly included in media productions?
Can you suggest some ideas for symposia and presentation topics?
The range of possible topics for symposia and presentations at TAC Conference is limitless. To help put your brainstorming wheels in motion, we’ve compiled a list of possible topics, many of them particularly related to the interests of archaeologists. See these below. Those approaching cultural heritage media from other directions would come up with other sets of topics – please feel free to do so!
Media portrayals of archaeology and archaeologists
The challenges and opportunities via new media and new technology
New media applications for education
Why commercial media do not serve the interests of archaeology
The challenges of developing a cultural heritage media program
Metal detecting reality TV shows: why they give archaeologists fits
Chronicling archaeologists’ efforts to influence reality TV shows
A history of Time Team America
Does ethics play a role in TV production?
Cultural heritage media: some good examples
How we made our cultural heritage TV show
Media storytelling for archaeology
My experience working with media professionals
TV show formats and the quest for ratings
Education versus entertainment in media productions
Is TV anti-intellectual?
How to engage audiences with cultural heritage media
How to achieve financial success–or at least survival–with cultural heritage media
The uses of cultural heritage media by educators
The challenges of operating a cable TV channel that broadcasts cultural heritage programming
How archaeologists can engage with and influence media productions
Brainstorming cool shows: new programming ideas for cultural heritage media
Networking for cultural heritage media development
Understanding audiences and what attracts them
Ways that cultural heritage professionals can engage with the real world
How cultural heritage professionals can take control of the media process
The financial challenges of cultural heritage media
Media as a form of public outreach
What is your vision for the outcome of this Conference?
The remarkable uncertainties in the new media world suggest that we are at the beginning of a new media paradigm and that wonderful opportunities exist now to pioneer a whole new generation of media projects through the creative energies of media professionals and other stakeholders. We intend to bring these people together to jump-start this process and encourage a group consciousness about what is happening and where we are going. The convention-style format for the Conference encourages the kinds of relaxed interaction needed to bring about productive collaborations.
Why do you feel that Archaeological Legacy Institute is especially well positioned to organize such a Conference?
As far as we know, this is the only gathering of its kind. Based on our history and connections, we feel particularly well positioned to organize such an event. For years now, we have organized our film competition (The Archaeology Channel International Film Festival) and our associated conference (The Archaeology Channel Conference on Cultural Heritage Media). We do this to fulfill our nonprofit public mission to tell the human story and to encourage the use of media in the genre of cultural heritage. In the process, we have developed a large and multi-pronged network of archaeologists, film makers, media organizations, educators, indigenous groups, journalists, and others who have an interest in this subject and genre. We continually look for ways to bring people together to develop media tools and projects to enhance human consciousness about our shared legacy. The Conference for us is a logical next step in the effective pursuit of our public mission.
What is the relationship between TAC Conference and TAC Festival?
These two ALI events are very closely integrated. The Archaeology Channel International Film Festival (TAC Festival) from its beginning has been a leading juried film competition in the cultural heritage film genre. It involves public film screenings and the designation of both jury and audience awards. Incorporated within TAC Festival, The Archaeology Channel Conference on Cultural Heritage Media is a convention-style gathering of diverse stakeholders in cultural heritage media, involving formal presentations. The Festival, with the Conference, takes place within a five-day span in the same area and the two are closely coordinated to encourage participants to sample all of the activities offered. We encourage Conference participants and our general Festival audience to take part in all Festival activities, including the Festival Banquet, film screenings, Conference presentations, the Video Bar, the public lecture by our Keynote Speaker, the Saturday Social, and the Awards Reception.
TAC Festival Banquet
Wednesday, May 14th, 2025, 6 - 9 pm ($70 per plate)
Location: Gordon Tavern, 555 Oak Street, Eugene, OR
Who Can Come: Everybody who is interested, up to the capacity of the room
Description: We invite all those interested, including local community members and official TAC Festival and Conference participants, to attend the Banquet and get to know one another. A Banquet highlight will be the Festival Keynote Address by Dr. Eske Willerslev, distinguished evolutionary geneticist from the University of Cambridge and Copenhagen University, presenting on his ground-breaking evolutionary genetics work, with a focus on what DNA tells us about early human population movements and relationships. This talk brings the audience the most up-to-date information about the spread of humans around the planet from our original home in Africa.
Menu entree choices will include chicken and pasta in a buffet, which includes vegetarian, vegan and gluten-free options.
Registration:
Call us at 541-345-5538 or email form to This email address is being protected from spambots. You need JavaScript enabled to view it..
Payment can be made:
by check (made out to ALI or Archaeological Legacy Institute and sent to PO Box 5302, Eugene, OR 97405)
credit card (call 541-345-5538 with the number)
or by PayPal.
Deadline for Registration: Wednesday, May 7th, 2025
The Archaeology Channel
Conference on Cultural Heritage Media
Eugene, Oregon, USA
15 - 17 May 2025
CALL FOR ABSTRACT SUBMISSIONS
To our friends interested in cultural heritage media:
We invite you to submit your abstracts for the 2025 edition of The Archaeology Channel (TAC) Conference on Cultural Heritage Media, which will take place 15 - 17 May 2025, at a venue to be announced in downtown Eugene, Oregon, as part of The Archaeology Channel International Film Festival. See details on our Conference page at archaeologychannel.org/conference and on our Festival page at archaeologychannel.org/festival.
A central activity at the Conference is the exchange of ideas through formal presentations, symposia and forums. We encourage participation in this manner from all quarters. The Conference is an opportunity for you to share your perspectives on the uses of audiovisual media for the study, preservation, and promotion of cultural heritage. Your contribution will further the development of cultural heritage media as a strong and positive influence for people everywhere.
Please share this announcement with others you know who may have an interest. Many thanks and best wishes to you all.
This call for submissions includes procedures and policies. If you have questions regarding the submissions process or policies, please contact the ALI office prior to the deadline.
Deadline: The deadline for submissions is January 31, 2025. The Conference registration deadline for presenters is also January 31, 2025.
Mode of abstract submission: Submissions may be made by email correspondence (This email address is being protected from spambots. You need JavaScript enabled to view it.) until our planned online submission system becomes available.
Please use the Abstract Submission form here:
or 
Abstract word limit: The required abstract length is no more than 150 words.
Conference registration requirement: Conference presenters must register for the Conference. No extra fees, beyond the registration fee, will be charged for Conference registrants who submit presentation abstracts.
Register for the event here:
or
All presenters, chairs, moderators, and discussants are required to pay the registration fee ($100) by the abstract submission deadline, January 31, 2025. Please let us know if this deadline is challenging for you.
Submission review: ALI staff will review abstract submissions as they come in and either accept them, make recommended changes, or decline them. Review decisions will be communicated to contributors by email as soon as possible.
Language requirement: All submissions and presentations must be in English.
Withdrawals: Registration fees for registrants who withdraw will be refunded by the ALI office, minus a $25 processing fee, upon receipt of a written request postmarked or dated by March 1, 2025.
Important details: An abstract submission may be edited at any time before the submission deadline. No edits may be made after that time.
Individuals may submit only one abstract for consideration. No abstract may list more than five authors.
Audiovisual Equipment: Each presentation room is equipped with the following presentation setup:
- LCD projector and cable
- Screen
- Laser pointer
- Microphone
The Conference venue may or may not have a laptop computer, so you should consider bringing your own or coordinating with others in your session. It’s always a good idea to bring your presentation digital files with you on your own flash drive. Individuals who wish to order and pay for additional equipment must contact the ALI staff for audiovisual rental information.
Submission formats and requirements:
Individual contributed paper–30 minutes maximum, including discussion time.
Symposium–no more than eight 30-minute presentations, with a total length of 2-4 hours
Forum (interactive format organized around a tightly focused theme). Forum sessions may have no fewer than 3 participants designated as discussants, with one moderator or 2 co-moderators and no more than 12 participants in discussant roles. No papers are listed with the session. All session participants must have completed their Conference registration by the submission deadline. Co-authors who do not plan to attend do not need to register for the Conference.