Digital media technologies are full of paradoxes. On one hand they are said to open up new opportunities, a “democratisation” of media, but on the other they are said to consolidate not just media power, but also the ideological frameworks that constrain critical creative practices. Funding regimes, festival circuits, commercial distribution networks, filmic narratives and conventions of film-making, not to mention the institutional order in which we exist, are persistent limitations on truly critical, or radical practice… read more here.