The time is now!  The present can be replaced in real time. Not quite yet by the future, but very easily by the past? eteam's video Track One is a replay of such time disjuncture. As they keep following the memory of a yellow cab that keeps driving through the now deserted streets of Taipei, their pastime augments itself with a mesmerizing sense of reality.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances.

This video documents the first cablecast of Austin Community Television (ACTV) in which George Stoney and a group of University of Texas students assembled playback equipment on a hilltop at the cable system's head-end.

Based on a photograph taken in the mid 1970s of two African Americans playing foosball.

Encompassing both Thanksgiving, Christmas and the exploding New Year's Eve celebrations, this holiday video is chock full of chicken and chatter befitting the season.

Cloudless Blue Egress of Summer is a two-channel synchronized video installation. A composite of the two channels presented side by side in one video is available from Video Data Bank for educational use only.

Transexual Menace takes its title from the name of "the most exciting political action group in the USA"—transgendered people who are defining themselves, demanding their legal rights, and fighting for medical care and against job discriminatio

Shot in Portland International Airport. Animation by Jalal Jemison.

At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a refl

South Circular first shows us two women, in the shadow of nondescript ruins over the Tagus river in Lisbon.

Segalove relates a tale from her childhood of a man's exposure with text (“the painter wagged it at me right here”), while an arrow blinks over a shot of the house where she grew up.

A.R.M. Around Moscow documents particpants in A.R.M. (American-Russian Matchmaking) to explore the relationship of personal power to domestic identity, and economic and political structure.

In this faux-recreation of a home-shopping network, Al Gore and George W. Bush offer you a 'super-premium' collectible lamp commemorating the 2000 presidential election.

In this experimental travelogue, efforts to sound human and look natural instead become artifical.

'Misery' doesn't like 'company' -- but 'company' does love a 'party', so come join in on a catastrophic celebration, and do 'hang on' tight -- because it's a steep ride down into the depths of a soul in meltdown mode!

Each year, crowds of Turkish, Australian and New Zealander tourists travel to Gallipoli, Turkey for a modern day pilgrimage.

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times.

The Rudnick family run amok with unleashed talent in San Francisco and display a wide girth of creative curvature for all to admire over a hot cup of java.

Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape.

The title gives a bitter meaning to the uneasy image of a woman who is brushing her hair over her face with fierce movements.

In Post Queer Pride 93, Brenda and Glennda attend the New York Ci

Filmed entirely in Sweden, VIEWFINDER is a surreal sound-film that entangles gestures of place, belonging, and monument.

Red Chewing Gum is a video letter that tells a story of separation between two men, set within the context of the changing Hamra, a formerly booming commercial center.

In the late 1970s, Walter Naegle was walking to Times Square to buy a newspaper when he ran into a striking older African American man on the corner. Walter says that “lightning struck” and his life changed forever at that moment.

While moving through the streets of Paris, a brother and sister confront their incestuous past under the watchful eye of their female taxicab driver.

In 1993 President Mitterrand visited Korea.

The five videos featured here investigate video as a tool for storytelling and the construction of alternate identities.

"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb."

— Harun Farocki

Framing the solo exhibition Prophetic Memory, this video remediates images of the NYC nonprofit art gallery, Artists Space, with the filmmaker’s grandmother's descriptions of how she would use her interior design

In October 1969, the Videofreex visited the home of wealthy political and social activist, Lucy Montgomery, as she was hosting the Black Panther Party of Chicago during one of their most fraught times — the period just after Chairman Bobby Seale was wro

This video is a 7-minute single channel piece consisting of two monologues: the first is a speech prepared for Richard Nixon in the event of a moon landing disaster in 1969, the second is the final words of the computer HAL from the film 2001.

The Dream of the Darkest Hour takes the intrigue and mystery of Bobe's other works but exacerbates it in such a way that it is overpowered by aesthetics and experimental tonality.

Erase the 1940s. The desire to better appearances. To try to record a love story. It's in this way that a facial can become the biggest remaining pleasure.

Found-footage video that addresses American racism and the violence that it spawns. 

The third video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on th

Legendary filmmaker George Kuchar, in between trips to the bathroom, visits three Bay area friends: an eccentric filmmaking couple who produce zombie movies, and performer Billy Nayer.

This compilation features 11 of Jem Cohen's collaborations with musicians.

Shared Resources depicts the filmmaker’s family after their father was fired from his job as a debt collector and their parents declared bankruptcy, largely due to the filmmaker’s own debt.

Former East/Former West was shot in Berlin three years after German reunification. Comprised largely of street interviews conducted in various parts of the city, the video documents Berliners' feelings about their national identity.

No Damage is a composition made out of fragments from over 80 different feature and documentary films that show the architecture of New York City — its architectural presence as captured on film over eight decades.

A documentary presenting an overview of Eduardo Kac's trajectory, including interviews with the artist and with art critics Annick Bureaud, Christiane Paul, and Arlindo Machado.

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones.

It is a tribute of hyperkinetic colors to the Chilean poet Vicente Huidobro in times of pandemic vortex and post-Cubist quarantine. This is Altazor's color drop. Part of the Harmonic and Hyperkinetic Color Film Series.

The sun pretty much shines throughout this romp back East as waves crash against a land of plenty while the residents bathe in its nutritional offshoots.

Although this episode promises, at first, to be a typical program of Lanesville Television—presenting two videos of previously shot footage of a truck wreck and a recent opening of a Buddhist Temple in South Cairo, NY—an unplanned event, arisin

Ken Mate, a 56 year old solipsistic individual, recites Finnegan's Wake while doing sit-ups, talks about talking, and kvetches when a neighbor "steals" the first tomato from his hand-cultivated garden.

An animation developed from the collective experiences of a diverse group of LGBTQIA+ people to create a narrative. The result is a queer valentine having a fever dream.

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants.

Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.

Physical comparisons such as the close living quarters, the intensity of the immediate environment, and sensory deprivation, soon give way to psychological ones: the isolation, the changing sense of time, and the experience of earth as distant, inaccessible, and desirable. The analogy extends to media representations that hold astronauts and prisoners in an inverse relationship: the super citizen vs. the super-predator. Astronauts, ceaselessly publicized, are frozen in time and memory whereas prisoners, anonymous and ignored, age without being remembered.

Statement

A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down, like the Confederate soldier monuments standing in court house squares across the South. At long last, a grand inversion! Solarized film makes positives bleed into negatives. The South is renewed.

This film looks to North Carolina to describe the cultural fissure that runs through the South, a legacy of the Civil War. In the context of the divisive Trump presidency and the increasing visibility of white supremacist activism, these Confederate memorials have become sites of conflicting politics and historical narratives. 

Historians agree that a majority of Confederate statues were erected as propaganda tools legitimizing racism in the era of Jim Crow laws. For example, “Silent Sam”, a statue depicted in the film, was erected on the quad of the University of North Carolina campus. In an act of civil disobedience in Fall 2018, students and protestors tore down the statue in a statement against white supremacist oppression.