Published on Friday, March 06, 2026
Abstract
The central issue addressed by this volume lies in the tension between the proclaimed “international” character of film festivals and the absence of a binding international legal framework regulating their activities, selection mechanisms, jury appointments, conflict-of-interest management, and transparency procedures. How do festivals construct their legitimacy? On what foundations is the credibility of their outcomes built?
Announcement
Argument
General Introduction
Since the second half of the twentieth century, international film festivals have become central actors within the global cinematic ecosystem. No longer limited to spaces for film exhibitions or celebratory events recognizing artistic achievements, festivals have evolved into powerful cultural institutions endowed with strong symbolic authority. They actively participate in the production of artistic value, the shaping of aesthetic taste, the orientation of production and distribution pathways, and the construction of cinematic heritage and collective visual memory.
Within this context, the functioning of film festivals raises complex questions that go far beyond artistic considerations to encompass legal, political, economic, and diplomatic dimensions, as well as ethical decision-making, equitable access, and the representation of identities. Despite their growing influence, there is still no unified international legal framework governing film festivals. Instead, a plurality of regulatory systems coexists, including internal regulations, professional charters, historical conventions, and international accreditation and classification networks. This fragmentation makes governance a key analytical concept for understanding how festivals operate.
This edited volume is situated within the field of Film Festival Studies, while seeking to broaden its scope through a critical, multidisciplinary approach. It aims to interrogate the relationship between written rules and effective legitimacy, as well as the gap between the official discourse of festivals and their actual practices, particularly in Arab, African, and Global South contexts.
Problematization and Research Context
The central issue addressed by this volume lies in the tension between the proclaimed “international” character of film festivals and the absence of a binding international legal framework regulating their activities, selection mechanisms, jury appointments, conflict-of-interest management, and transparency procedures. How do festivals construct their legitimacy? On what foundations is the credibility of their outcomes built?
These questions include, but are not limited to:
- Who oversees the preliminary selection of films, and according to which aesthetic or institutional criteria?
- What are the limits of jury authority in relation to artistic direction or festival management?
- Does the appointment of former award winners as jury members constitute legitimate practice or a breach of impartiality?
- Is the repeated membership or presidency of juries across successive editions compatible with principles of fairness?
- What is the position of parallel committees (programming, viewing, funding) within the decision-making hierarchy?
These issues have become even more complex with the proliferation of parallel competitions (film schools, animation, debut films, 48-hour film challenges) and funding schemes dedicated to writing, development, or post-production, transforming festivals into production actors rather than mere exhibition platforms.
Festivals, Heritage, and Identity
Film festivals play a decisive role in transforming films into heritage references. Official selections and awards contribute to the inclusion of certain works in processes of archiving, academic study, and circulation, thereby integrating them into national or transnational cultural narratives.
However, this role raises critical issues in cases of international co-productions, where cultural and heritage affiliations intersect with funding strategies and global circulation dynamics. This intersection reveals tensions between:
- the preservation of cultural specificity and local reference frameworks, and
- the demands of international markets and major festivals.
The trajectories of certain filmmakers provide particularly relevant case studies for analyzing this tension between international recognition and identity affiliation, along with the reconfiguration of heritage within a dominant global discourse.
Politics, Soft Power, and Symbolic conflict
Film festivals cannot be dissociated from the concept of soft power. They function as tools of cultural diplomacy, image-building, and symbolic repositioning of states on the global stage. At times, they also become arenas of political and cultural struggle, whether through film programming choices, jury composition, or the nature of awards granted.
These dynamics are especially significant in relation to:
- political conflicts between states and their reflection in festival decisions,
- emancipatory and humanitarian causes, particularly the Palestinian issue, examined through festival models with explicit political and cultural positioning.
Economy, Funding, and Unequal Access
The crisis of independent film financing and the dominance of major production companies have led festivals to become partial alternatives for funding through development and support programs. This transformation has reshaped the filmmaker–festival relationship, turning festivals from exhibition spaces into professional necessities.
Conversely, submission conditions (fees, international electronic payments, costs of copies and travel) raise serious concerns regarding economic justice, particularly in countries facing financial and technical constraints. Virtual festivals have contributed to the emergence of symbolic participation formats aimed more at cultural visibility and artistic positioning than at competition for awards.
Technological Transformations: Animation and Artificial Intelligence
The integration of animation and artificial intelligence into cinematic production introduces new challenges for festivals, particularly with regard to:
- evaluation and jury criteria,
- ethics of creation,
- the boundaries of human authorship, and
- the composition of juries capable of understanding and assessing these transformations.
Central Research Question
How do international film festivals construct their cultural and artistic legitimacy in the absence of a unified international legal framework, and how does this legitimacy intersect with politics, economics, heritage, identity, and technological transformations?
Proposed Thematic Axes (Open to Development)
- Legal and regulatory frameworks of international film festivals
- Selection, programming, and aesthetic legitimacy
- Jury appointment, recurrence, and conflicts of interest
- Film festivals and the construction of cinematic heritage and identity
- International co-production and identity affiliation
- Soft power and political conflict between states
- Film festivals and the Palestinian cause: models and analysis
- Funding competitions (writing, development, completion)
- Economy, equity, and unequal access
- Animation and artificial intelligence in film festivals
- 48-hour film competitions: time, creativity, and legitimacy
- Toward an ethical charter for the governance of international film festivals (open discussion axis)
Participation is open to
- University professors and academic researchers working on topics related to the book’s themes
- Research Master’s and PhD students
- Film and cultural professionals (directors, producers, programmers, festival directors) through analytically grounded critical testimonies
- Film critics and independent researchers
(Professional and critical testimonies will be integrated within a clearly defined academic framework and methodologically distinguished from scholarly research chapters.)
Timeline
- Abstract submission deadline: 30 June 2026
- Notification of acceptance: 30 July 2026
- Final chapter submission deadline: 31 December 2026
- Double-blind peer review: 1 January – 31 March 2027
- Publication: July 2027
Abstracts should be sent to: faten.ridene@iseahkef.u-jendouba.tn
Scientific Committee
(Peer-Blind Review)
- Pr. Ikbel CharfiTunisia, University of Sfax, Higher Institute of Arts and Crafts, Sfax
- Pr. Hamid Tbatou Morocco, University Ibn Zohr, Multidisciplinary Faculty of Ouarzazate
- Pr. Jolanda Guardi Italia, University of Unilimec Milan
- Pr. Abdelghani BrijaMorocco, Mohamed V University of Rabat, Faculty of Legal, Economic and Social Sciences-Souissi
- Pr. Assia Marfouq Morocco, Hassan I University of Settat, Institute of Sports Science
- Pr. Abdelaziz Amraoui Morocco, Cadi Ayyad University, Faculty of Arts and Humanities
- Pr. Houcine Ben SlimanTunisia, University of El Manar, Higher Institute of Humanities of Tunis
- MC Safaa Bendhiba Morocco, Ibn Tofail University-Faculty of Languages, Literature and Arts - Kenitra
- MC Murat Akser Ireland, Ulster University-School of Communication and Media - Belfast
- MC Omar EL Ghazi Morocco, Hassan II University - National Higher School of Art and Design-Casablanca
- MC Bessma Bsir Tunisia, Mannouba University, Higher Institute of Documentation, Mannouba
- MC Rym Zayani Tunisia, Mannouba University, Higher Institute of Multimedia, Mannouba
- MC Ali Chamseddine Tunisia, University of Gabes, Higher Institute of Arts and Crafts Gabes
- MC Salma Ktata Tunisia, Mannouba University, Higher School of Design Science and Technology Denden
- MC Boukary Sawadogo USA, City College of New York
- MC Mohamed Marzaqui Morocco, Cadi Ayyad University Marrakech, Faculty of Science Semlalia Marrakech
- MC Mohamed Hedi Tahri Tunisia, University of Jendouba , Higher Institute of Applied Studies in Humanities Le Kef
- MC Samira Ouelhazi Tunisia, University of Jendouba , Higher Institute of Applied Studies in Humanities Le Kef
- MC Mohamed Berrached Tunisia, University of Jendouba , Higher Institute of Applied Studies in Humanities Le Kef
- MC Ouafa Ouarniki Algeria, Ziane Achour University of Djelfa
- MC Manoubia Ben Ghedhahem Tunisia, Carthage University, Higher Institute of Linguistics - Tunis
- MC Sadek Touil Tunisia, Gabes University, Higher Institute of Arts and Crafts -Gabes
- MA Amira TurkiTunisia, University of Jendouba , Higher Institute of Arts and Crafts Siliana
- MA Mohamed Anis FerchichiTunisia, University of Jendouba , Higher Institute of Applied Studies in Humanities Le Kef
- MA Rym Mansour Tunisia, University of Sousse, Higher Institute of Music Sousse
- MA Imen Samet Tunisia, University of Jendouba , Higher Institute of Music and Theatre Le Kef
- MA Nouheil Salloum Sultanat d'Oman, University of Sultan Qaboos, College of Art & Social Science
- MA Mohamed Ghazela KSA, Effat University, Effat College of Architecture & Design, Cinematic Arts School
- MA Sherif Galal Mahmoud Sultanat d'Oman, Scientific College of Design, Mascate
- MA Nadia GhrandiTunisia, University of Jendouba , Higher Institute of Applied Studies in Humanities Le Kef
- MA Sana AbdelhamidTunisia, University of Sousse, Faculty of Arts and Humanities Sousse
- MA Stefanie Van De Peer Irland, the University of Dublin, Trinity College Dublin
Subjects
- Sociology (Main category)
- Society > Political studies > Political science
- Society > Science studies > History of science
- Society > Ethnology, anthropology > Cultural anthropology
- Society > Political studies > International relations
- Society > Sociology > Sociology of culture
- Society > Geography > Geography: politics, culture and representation
Date(s)
- Tuesday, June 30, 2026
Keywords
- film festival, identity, governance, cultural politics
Contact(s)
- Faten RIDENE
courriel : faten [dot] ridene [at] iseahkef [dot] u-jendouba [dot] tn
Reference Urls
Information source
- Faten RIDENE
courriel : faten [dot] ridene [at] iseahkef [dot] u-jendouba [dot] tn
License
This announcement is licensed under the terms of Creative Commons - Attribution 4.0 International - CC BY 4.0 .
To cite this announcement
Faten Ridene, « Governance of International Film Festivals: From Rules to Legitimacy », Call for papers, Calenda, Published on Friday, March 06, 2026, https://doi.org/10.58079/15tpu
Author(s)
Faten Ridene
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IDREF : https://idref.fr/294449922 -
ORCID : https://orcid.org/0000-0002-5202-427X
