Currently, 'a polarization and division of societies ... on a scale hitherto unknown, can be observed virtually worldwide. Hatred, violence, disrespect, mistrust, rejection” (Schumacher & Warnemuende, 2019) shape the daily picture. 'Social integration is an essential function of the media' (Hasenbrink, et al., 2019), in particular of the audiovisual media. Therefore, stakeholders like government and advocacy groups (Freeman and McVea, 2001) even justify legitimacy of media organizations–as moderators of social transformation processes based on information, education and entertainment–on the extent to which they actually contribute to social cohesion (Meynhardt & Franzt, 2019).
The scope and quality of such an integrative role–in the sense of inclusion, respect and reciprocity–thereby depend on the selection and presentation of programs that 'reflect social reality in all its diversity” (Hasenbrink, et al., 2019). While traditional audiovisual program providers like television and cinema often either rely on mainstream programming in their rivalry to attract a mass audience (Roy, 2016) or succumb to the supremacy of US film productions, film festivals have always positioned themselves as windows on many different worlds. A program that also represents marginalized and under-represented communities is likewise of key interest to the so-called A-film festivals, such as the Berlin International Film Festival (Berlinale).
The global democratization of production conditions associated with digitization (Krainhöfer, 2018) as the transnational circulation and distribution of films (Bosma, 2015), have encouraged access to productions as well from countries with less developed film infrastructures. However, to this day, the lack of homogeneity still prevents even gender parity in the film industry.
Like other international film festivals of the first-tier level the Berlinale has launched over the years numerous initiatives, including the installation of new business areas, which not only aim to 'open arenas for artists to manifest all their unique voices' (Acciari, 2014), but also achieve the long-term goal of transforming an industry built on inequality (IDFA, 2018). At the same time this strategy offers the Berlinale access to emerging talents and outstanding film works across regions, genres, ethnicities, gender and orientation and ensures the Berlinale a competitive advantage in the worldwide festival landscape.
Relying on a quantitative study on the program diversity of the Berlin International Film Festival from 1980 to 2016 (on the basis of gender and age of the filmmaker as the countries of origin of their film works) and a qualitative analysis based on expert interviews in 2019/2020 the present paper demonstrates the development of the Berlinale over the years towards inclusiveness. In parallel the analysis shows how the Berlinale has gradually transformed itself from its original concept of an important presentation and promotion platform for world cinema, into a highly-diversified media organization. With activities along the entire value chain of film production, today’s Berlinale not only makes a decisive contribution to diversity in the film industry, but is, itself, a driving force and important player in film culture