At a bustling film festival registration table, attendees are greeted not just with a smile but also with badges that include their preferred pronouns. The festival’s marketing posters show a kaleidoscope of faces – different ages, ethnicities, and abilities – making it clear that everyone is welcome. On social media and printed programs, language is carefully chosen to avoid assumptions, and key information is available in multiple languages. These inclusive touches aren’t just about political correctness; they fundamentally enhance the festival experience by ensuring each guest and creator feels seen and valued. From small indie film fests to global cinema extravaganzas, forward-thinking festival organisers are weaving inclusive language and visuals into every touchpoint of their events, championing diversity and accessibility at every step.
Using Pronouns on Badges and Communications
One simple yet powerful practice is including pronouns on name badges for staff, volunteers, and attendees. By giving everyone the option to display pronouns (e.g. she/her, he/him, they/them), festivals show respect for individual identities and help avoid misgendering (alexwlchan.net). For example, tech conferences like PyCon UK began printing pronouns on badges as early as 2018, and many progressive film festivals and markets are following suit. Some festivals provide pronoun sticker stations or allow attendees to select pronouns during registration so they can be printed on badges directly. It’s important that sharing pronouns remains optional – no one should feel forced to out themselves if they’re not comfortable (alexwlchan.net). The goal is to make it easy for those who wish to share pronouns to do so.
To implement this, festival organisers can add a pronoun field in the ticket registration process or use printable stickers at check-in. If your ticketing platform supports custom questions (as Ticket Fairy’s platform does), you can ask attendees for pronouns in advance and seamlessly incorporate that onto badges at printing time. Train registration staff to invite attendees to pick up pronoun stickers or confirm their pronoun on their badge. This small step immediately signals that your festival is a safe and welcoming space for people of all genders. It sets a tone of respect from the very first interaction.
Avoiding Gendered Assumptions in Copy
Inclusive language goes beyond pronouns on badges – it’s in every email, social post, and introduction from the stage. Festival communications should steer clear of gendered assumptions and binary phrases. For instance, instead of addressing a crowd as “ladies and gentlemen,” many inclusive events opt for greetings like “Welcome, filmmakers and guests” or simply “Welcome, everyone.” In written copy, avoid defaulting to gendered pronouns for hypothetical individuals (use they/them as a singular pronoun or rewrite sentences to be plural). Always refer to people – whether audience members, directors, or staff – with the pronouns and titles they personally use. If you’re describing a filmmaker in a programme booklet, double-check their pronouns rather than assuming based on name.
Many film festivals have started revising their materials to use gender-neutral job titles and descriptors. For example, instead of saying “chairman” or “actress,” use “chairperson” or just “actor” unless an individual specifies otherwise. An illustrative milestone was when the Berlin International Film Festival (Berlinale) eliminated gendered awards categories in 2021, choosing to honour performers in a gender-neutral acting category. (www.thenationalnews.com) This move underscored a commitment to avoiding unnecessary gender distinctions. Likewise, internal documents and public-facing text should be reviewed for unintentionally gendered language. Phrases like “hearing from the guys in the sound team” could be rephrased to “hearing from the sound team” – subtle changes that make everyone feel included.
A useful strategy is to develop an inclusive style guide for your festival’s communications. This guide can list preferred terms (e.g. “filmmaker” instead of “cameraman”), advise on pronoun usage, and point out common pitfalls in tone. Before publishing content, have a diverse set of eyes review key copy to catch any gendered assumptions or exclusive wording. As one artistic director put it, you should “try to speak the language of the audiences, without ruffling any feathers” (www.emerald.com) – which means using language that feels welcoming and respectful to all.
Representing Diversity in Festival Visuals
They say a picture is worth a thousand words – and the visuals your festival uses will wordlessly communicate who belongs. To foster inclusivity, marketing materials and on-site visuals (like banners, websites, and sizzle reels) should depict the rich diversity of your creators and audience. Make a conscious effort to include people of different races, genders, body types, ages, and abilities in photos and videos. When prospective attendees see someone who looks like them (or simply a mix of different people) in your promotional content, it signals that “people like you are welcome here.”
For example, the Tribeca Film Festival in New York has highlighted diverse filmmakers in its PR images, and Sydney Film Festival ticket campaigns often feature a blend of audience snapshots from various communities. In India, the Mumbai Film Festival’s recent promos showed men and women of different backgrounds enjoying screenings, subtly reflecting the city’s cosmopolitan makeup. Following global initiatives like the 50/50 by 2020 parity pledge (spearheaded at Cannes) (www.screendaily.com), events from Cannes to Toronto have aimed to programme more films by women and people of colour, and they showcase those creators prominently in press materials.
In bygone years, some organisers even hesitated to use images of certain demographics, fearing it might not appeal to their “core” audience. But today, such narrow thinking is fading fast – festivals are expected to be inclusive cultural celebrations. Festivals are now seen as platforms that should take a lead on diversity issues by modeling inclusion. Thus, curating your visual content with diversity in mind isn’t just a nice-to-have, it’s considered part of good festival stewardship.
Practical steps for more inclusive visuals:
– Audit your media library: Look at the photos and videos you plan to use – do they collectively represent a mix of identities and stories? If not, seek out additional content (hire diverse photographers or source images from past events) that fills the gaps.
– Empower community photographers: Some festivals invite photographers from underrepresented communities to document the event. This can yield more authentic images of diverse attendees and moments.
– Avoid stereotypes: Ensure that people from any particular group are shown in varied roles (e.g., not always portraying women as assistants or minorities only in the background). Show diversity in positions of authority – such as women directors in Q&As, disabled speakers on panels, etc.
– Visual accessibility: When depicting people with disabilities, do so with respect and normalcy – for instance, showing Deaf audience members enjoying a subtitled film or a wheelchair user on the red carpet highlights inclusion in a positive way.
By thoughtfully choosing visuals, festivals craft a narrative that everyone belongs in the audience and on the screen.
Translating Core Materials for a Global Audience
Film festivals often attract international attendees and guests, and even local festivals may serve multilingual communities. Providing translations for core materials is a key part of inclusive outreach. At a basic level, this might mean offering your festival website, programme guide, or essential signage in more than one language. For example, the Tokyo International Film Festival operates its website and programme in both Japanese and English by default, catering to local cinephiles as well as foreign visitors. Similarly, Locarno Film Festival in Switzerland embraces the country’s four official languages – German, French, Italian, and Romansh – in its communications (www.locarnofestival.ch), reflecting the multilingual audience it serves.
Beyond national languages, consider the linguistic needs of your specific audience. In New Zealand, for instance, the national film festival has integrated te reo M?ori into its branding (it’s known as Wh?nau M?rama: New Zealand International Film Festival) and programme sections (www.nziff.co.nz), honouring the indigenous language and signaling inclusion of M?ori communities. If your festival is in a region with a significant bilingual population (such as English/Spanish in parts of the US or French/Arabic in parts of Canada), translating key announcements, film descriptions, and even social media posts can greatly broaden accessibility.
Translation also applies to the films and programming themselves. International film festivals routinely subtitle films to bridge language gaps. The Shanghai International Film Festival, for example, handles subtitles for hundreds of films in many languages – a process so crucial that even a minor mistake can “damage the audience’s experience,” whereas accurate subtitles “make everybody happy” (www.siff.com). This lesson extends to your festival’s informational content: accurate, high-quality translation builds trust and comfort, while sloppy translation can confuse or exclude attendees.
To manage translations:
– Prioritise core materials: Determine which documents or content pieces (website sections, FAQs, venue maps, safety announcements) most need translation based on your audience. Focus on those first.
– Use human translators: Whenever possible, use professional translators or cultural consultants to ensure nuance is preserved (especially for critical public announcements or welcome messages from festival directors). If budget is a concern for a small festival, tap into volunteer networks – perhaps film students or community members fluent in the target language – but always have a second native speaker review for accuracy.
– Promote language options: Clearly indicate the availability of other languages. For example, include a language switcher on your website, or place signage at venues that says “Información en Español disponible” (Spanish information available). When people know you’ve made the effort to speak their language, it greatly increases their sense of belonging.
– Consider accessibility in translation: Providing translations in text is great, but remember other formats too. If a portion of your audience is Deaf or hard of hearing, look at offering sign language interpretation or written summaries for spoken introductions. If many attendees are visually impaired, consider audio translations or screen-reader-friendly digital content. Inclusivity means meeting everyone where they are.
Remember that inclusivity is not one-size-fits-all; it’s about meeting your audience where they are. If even a portion of your attendees will benefit from translated materials, doing so underscores that your festival welcomes them.
Auditing Tone and Accessibility of All Outputs
Inclusivity also means ensuring your festival’s communications are welcoming in tone and usable by people of all abilities. A thorough audit of your outputs – from website to printed signs to social media posts – should check for both tone and accessibility issues.
Start with tone: does the wording align with a positive, inclusive voice? Avoid sarcasm or insider jokes that might alienate newcomers. Make sure any rules or instructions (like ticket terms or venue policies) are phrased politely and helpfully, not with harsh language. Strive for clarity and simplicity. Experts recommend writing in plain language – explain or avoid jargon, spell out acronyms, and keep sentences concise (diversity.umich.edu). This benefits everyone, from non-native English speakers to industry veterans who just want information quickly. Maintaining a respectful, enthusiastic tone can make even mundane communications feel inviting.
Next, focus on accessibility in the design and delivery of your content. This means considering people with visual, auditory, cognitive, or motor disabilities in how you present information:
– Visual Accessibility: Ensure text is large enough and in clear fonts for easy reading. Use high-contrast colours for text and backgrounds so that people with low vision or colour blindness can read comfortably. Provide alternative text (alt text) for images on your website and social media, so screen reader users know what visuals depict.
– Hearing Accessibility: If you produce video content (trailers, promo videos, or live-streamed Q&As), include captions or subtitles. Many festivals, like TIFF, indicate which film screenings are available with open captions (subtitles visible to all) or closed-caption options (tiff.net) so that Deaf or hard-of-hearing audience members can participate fully. Even during opening night speeches or panels, use a microphone, speak clearly, and consider having sign language interpreters or live captioning on screen – these steps make a huge difference.
– Physical & Digital Accessibility: Consider formats beyond standard print. Some attendees might have difficulty holding brochures or reading small maps. Offering a digital version of the programme guide (that can be zoomed on a phone) or a simple festival app can help. Also ensure your website is navigable by keyboard (for those who can’t use a mouse) and follows common web accessibility standards (like WCAG). Providing information on accessible venue entrances, restrooms, and seating in your communications is vital for those who need it.
Conducting an accessibility audit might involve using checklists or tools – for instance, running your website through an accessibility checker, or inviting individuals from disability communities to review materials. It’s also useful to invite feedback: let attendees know that you welcome suggestions for improving accessibility and inclusion. Many festivals now include an accessibility information page (as ImagineNATIVE and TIFF do) and an email contact for accommodation requests. This openness sets a tone that everyone’s presence is valued, and if something isn’t working, you’re ready to fix it.
Finally, remember that tone and accessibility audits are not one-and-done. Make it a habit to periodically review your festival’s communications. Language evolves, new accessibility technologies emerge, and each year’s audience might have different needs. By continuously auditing and refining your approach, you ensure your festival’s message of inclusion stays genuine and effective.
Scaling Inclusion: From Niche Festivals to Global Events
The approach to inclusive language and visuals can scale up or down depending on your festival’s size and audience, but the core principles remain the same. For small boutique film festivals (say, a regional indie film showcase), resources might be limited, yet inclusion can be woven in through personal touches. For example, a small festival team can personally greet attendees, learn names and pronouns, and maybe even know community members’ language needs – creating a very tailored sense of welcome. Printed materials might be simpler at this scale, but even a one-page handout can include a note in the local second language or a line about “let us know if you need assistance” to cover accessibility.
On the flip side, large international festivals (like Berlinale or Sundance) face the challenge of scale – tens of thousands of attendees from dozens of countries. These festivals typically invest in dedicated diversity and inclusion staff or committees. Multiple languages are expected; for instance, Sundance often provides Spanish-language guides or subtitles for its local Latino community, and Berlinale’s European Film Market has hosted inclusion initiatives to welcome underrepresented industry delegates. Big events may produce comprehensive accessibility guides, offer technology like assistive listening devices at screenings, and train hundreds of volunteers on inclusive customer service (such as how to respectfully guide a blind attendee to their seat or how to handle a pronoun misstep politely).
Another consideration is the type of festival and its core audience. An LGBTQ+ film festival (e.g. Frameline in San Francisco or BFI Flare in London) will inherently prioritise inclusive language – you’ll see pronouns on badges as standard, gender-neutral restrooms at venues, and marketing that explicitly celebrates queer and trans stories. These festivals often lead the way in practices that mainstream festivals can adopt. Similarly, festivals centred on specific ethnic or cultural communities (like the BlackStar Film Festival in the U.S. or the Busan International Film Festival in Korea) place a strong emphasis on bilingual materials and culturally sensitive imagery to honour their audience’s heritage while also inviting others in. By contrast, a general-audience festival must be a jack-of-all-trades, ensuring no group feels overlooked.
Regardless of scale or theme, the community engagement aspect is crucial. Some festivals form advisory groups from different demographic communities to review plans and materials – much like Cork International Film Festival gathers feedback to ensure its programming and outreach reflect the breadth of its audience (corkfilmfest.org). This kind of engagement not only catches issues (like a tagline that might not translate well, or an image that could be seen as tokenistic) but also builds goodwill. Communities that feel consulted and represented are more likely to become festival champions, spreading the word and filling seats.
In the end, being inclusive is an ongoing learning process. Festivals have had both successes and stumbles in this journey. There have been instances of breakthroughs – such as a festival programme booklet updated at the last minute because a participant proudly came out as non-binary (and the team adjusted pronouns festival-wide in support) – and, conversely, cautionary tales where a lack of sign language interpretation at a Q&A drew criticism from attendees. The mark of a great festival organiser isn’t never making mistakes, but rather listening, apologising when needed, and constantly improving on inclusivity efforts year over year. Approach inclusion with humility and a genuine desire to welcome all, and your festival will continue to grow in both audience numbers and community trust.
Key Takeaways
- Pronouns and Respect: Include pronouns on badges or via stickers to show respect for all genders. Always avoid making assumptions about someone’s gender or pronouns – when in doubt, ask or use inclusive language.
- Gender-Neutral Language: Use inclusive, gender-neutral terms across all copy. Replace outdated gendered terms and double-check how you address audiences. If major festivals like Berlinale can remove gendered awards, you can drop “ladies and gentlemen” from your script!
- Diverse Visuals: Ensure your marketing and event visuals represent a variety of people. Showcasing diversity in race, gender, age, and ability tells potential attendees that everyone is welcome and valued.
- Multilingual Outreach: Translate key materials and announcements for multilingual audiences. Even partial translations or bilingual signage can significantly improve a non-native speaker’s festival experience.
- Accessibility Matters: Audit everything – websites, videos, signage – for accessibility. Use captions, alt text, high-contrast design, and clear language. Make it easy for people with disabilities to get information and enjoy the festival.
- Consistent Inclusive Tone: Maintain a warm, respectful tone in all communications. Avoid slang or references that exclude. Invite feedback and be ready to adapt if someone points out an oversight in your language or content.
- Tailor to Your Audience: Implement inclusive practices that fit your festival’s scale and demographics. A local community film fest can be just as inclusive as a global one by focusing on what matters to its audience.
- Learn and Evolve: Inclusion is an ongoing journey. Keep learning from other festivals’ successes (and failures), and solicit input from diverse voices. Show that you’re committed to improvement – your audience will notice and appreciate it.
27th September 2025