Legendary film critic Adrian Martin examines the inclusion of low tech digital footage in many recent films including the 'Paranormal Activity' horror-thrillers by Oren Peli and 'The Video Diary of Ricardo Lopez' by Sami Saif.

Historically, the relation between art institutions and film has been fraught with every imaginable problem and inequality. How to truly bring cinema and art into dialogue, to create real interpenetrations and hybrid forms that move well beyond the ephemeral fireworks of yesteryears between-images? Martin proposes that the gallery needs to take its filmic pedagogy outside its lecture rooms and onto the gallery and film works need to be fully valued in themselves  by curators, audiences and the entire, increasingly dominant promotional machine attached to our major galleries  for their history, their value, their power and (yes) their art.

Tracey Moffatt has since the end of 1997 had two solo exhibtions overseas -- 'Freefalling' at the Dia Center for the Arts in New York and 'Tracey Moffatt' at the Kunsthalle Vienna touring 16 galleries in Europe. She was included in the 10th Biennale of Sydney in 1996, followed in 1997 by the Venice Biennale, the Basel Art Fair and the Sao Paulo Bienal in Brazil. Adrian Martin looks at her show at the Arnolfini Gallery in Bristol.