How might artist filmmakers, such as Andrew Kötting or Carol Morley, go about producing their films today when funding bodies are being forced to close down and many support structures have disappeared? Is the rise of the black-box screening room in galleries, where visitors come and go with no regard to the duration of the film, challenging independent filmmakers to rethink their production?

'When it comes to the financing of artists' moving-image work, current trends have focused on backing established celebrity artists rather than supporting the independent sector.'