The social imperative of our times has yielded a cultural obsession to avidly account for, and absolve itself of the ugly stains of our past. Such fervent ardour frequently bears insurmountable charters within the outpourings of such freshly homogenised blanket protocols, piously promulgated at the media-pulpit of our neo-socialist cleansing order.

Tacit authority reigns, generating a single, weighty tome with which to bind new culture safely within a paradigm of self-regulating governance, offering cosy constructs in which creative text is held accountable for all representations of people and communities.

Bordered by so many strategically greyed zones associated with this era of hypervigilance, new media producers are tenuously poised over a precipice of responsibility, restricted on behalf of those deemed vulnerable in the esteemed, collective observance of appropriateness.

Are such social advancements disabling a generation of artists from engaging in innovative dialogues that speak from inside the scars and social borders, conveying muffled voices out beyond the case-sensitive management of so many incendiary issues? Will open territory dwindle for new art?

Have we reduced our own freedom to read and critique emerging work, prohibited by aggressively politicised classifications of social bounds? Are these upright measures protecting, or preventing new culture with such definitive cataloguing of social sensitivities, cultural proclivities and customary rules?

Must emerging artists and filmmakers stylise and taper new works to assume an egalitarian, altruistic method of storytelling?

Teone Reinthal 2010