This experimental documentary chronicles Janice Tanaka’s search for a father she has not seen since she was three years old.

Forbidden to Wander chronicles the experiences of a 25-year-old Arab American woman traveling on her own in the occupied territories of the West Bank and Gaza Strip during the summer of 2002.

A segment produced for radical early video collective Videofreex’s unlicensed broadcast television station, Lanesville TV, a weekly broadcast that was one of the first American pirate stations of its type.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.

Super 8 footage layered with Sharpie marked lines and circles obscuring the image illustrates the story of the Cuthand’s experience with temporary episodes of migraine related blindness and his cousin’s self induced blindness later in life.

In One Man Ladies, Glennda Orgasm is joined by Vaginal Davis as they meet women on the streets of New York City to discuss Laura Schlessinger's book Ten Stupid Things Women Do to Mess Up Their Lives.

Philip Pearlstein (b.1924) began painting figures in the 1960s and is known as a leading figure in American Realism. Throughout his career, Pearlstein's paintings evolved from an expressionistic style to a meticulously analytical vision.

Based on a Story explores the widely-publicized encounter between a Jewish Cantor, Michael Weisser, and Nebraska's former Ku Klux Klan Grand Dragon, Larry Trapp.

Born in 1943 in Poland, Wodiczko lives and works in New York and Cambridge, MA, where he has been professor at MIT since 1991.

Company Line is a film about one of the first predominately Black neighborhoods in Mansfield, Ohio.

As a document of an early performance, this video details the process of orientating the body and self in space, providing a physical metaphor for the process of adjusting oneself in society.

Acconci again confronts both the viewer’s and his own expectations of his performance, saying, "I've waited for the perfect time, for the perfect piece, I'm tired of waiting...

Actor Richard Marcus speaks directly and intimately to the viewer, relating a tale of personal loss, and then changing the subject to baseball. The video is about amateur vs. professional, personal vs. public space, and loyalty and self-confidence.

In 1998, Zaatari interviewed Egyptian photographer Van Leo in Cairo.

"Image states / sound states.

Shot in black and white, this rough-and-ready trilogy is about twin sisters who "act out" and act up in their own best interests.

A radical reworking of an etching by Italian artist Giorgio Morandi, brought to life by engraving fame by frame into the photographic emulsion of color filmstock.

“We are hoping that in presenting this story in such a minimal way it would become evident that this Freudian logic is a conceptual and visual cliché. We want our audience to have an emotional response to the work, but at the same time realize that they’re being manipulated.” —Bruce and Norman Yonemoto

Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s "Freebird", the infamous Southern rock anthem for an entire generation of 1970s male youth.

Mutiny employs a panoply of expression, gesture, and repeated movement. Its central images are of women: at home, on the street, at the workplace, at school, talking, singing, jumping on trampolines, playing the violin.

Colectivo Los Ingrávidos (Tehuacán) is a Mexican film collective founded in 2012 to dismantle the commercial and corporate audiovisual grammar and its embedded ideology.

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema.

A video poem about memory and loss. The abstraction in the meaning of words and how they become more dynamic in our consciousness.

A video in two parts about two states (being asleep and being awake) and the absurdity, or even impossibility, of bridging between them. The camera becomes a microscope examining light as if it were a state of mind.

still/here is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St.

A son discreetly records fleeting moments in his parents’ suburban home. An intimate portrait of a stable life lived according to the rules of society.

Block is a round-the-clock portrait, shot over a duration of ten months, of a 1960s tower block in south east London. The film is a portrait that developed out of this long duration spent there.

A history of New York City from Prehistoric times through the Space Age, composed entirely from documentary street footage.

In 1959, Jean Seberg stares into Raoul Coutard’s 35mm camera lens and then turns – the closing frame of Godard’s Breathless is the back of her head. For the film it is a closing. For her character it is less clear. Is it a refusal? A denial?

Shooter explores the idea of overt manliness, exposing it to be a flaccid gesture and an exercise in posturing.

Four tales about cannibal monsters narrated and performed by the Waiãpi Indians. “We have made the video,” say the Waiãpi, “to teach people to be more careful with monsters they never heard about.

The first in a pair of silent Super 8 films centering on the backyard of a modest house in a coastal community of north San Diego County.

Chantal Akerman (1950-2015) gained international recognition with her three-and-a-half hour masterpiece, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), which portrays a housewife’s dull existence and eventual violent action. She has continued to be one of Europe’s most innovative filmmakers with more than forty film and television projects to her credit. Akerman’s work is minimalist, structuralist, and feminist. Major themes in her films include women at work and at home; women’s relationships to men, other women, and children; food, love, sex, romance, art, and storytelling. In this interview from 1976 Akerman discusses her early films, and the development of her particular vision.

A portrait that follows Nan, my uncle who lives with his elderly parents, during the last two years that the three share the same house together.

All that burns melts into air as “All that is solid melts into air” by Marx and Engels brings us to an imaginary of the present time marked by the reality and urgency of global warming. 

Laurie Simmons’s photographs are brought to life in Laurie Simmons: A Teaser, MICA-TV’s portrait of the acclaimed photographer.

Berlin-based Danish artist Olafur Eliasson complicates and simulates perception through his installations, sculptures, and photographs.

In Hyperthermia the cinematic body becomes overwhelmed by the luminous projection of outside political factors, causing the internal temperature of the celluloid to rise to dangerous levels.

Your Money or Your Life is a video essay on street crime, and on the role played by an atmosphere of pervasive (white) urban fear in structuring and renewing racial antagonism and inequality.

Part of the Hauntology Film Archives series.

Take a joyride through comfortable suburbia—a landscape molded by seductive television and corporate America (and keep in mind: disaster is another logo for your consumption...).

Touch Parade is a 5-channel HD video installation consisting of crush (9:22 min. loop,) squeeze-2-pop (5:49 min. loop,) wading (3:41 min. loop,) glove love (6:58 min.

Water and oil form the undercurrents of all narrations as they activate profound changes in the planetary ecology. After the oil peak, ever dirtier, remote and deeper layers of fossil resources are being accessed.

The first twelve minutes features Phil keying his own image over his left eye (right on the screen), where he smokes and performs various facial gestures.

A response to the inability of his local General Motors dealer to fix Morton's 1974 Chevy van to his satisfaction, this tape blends experimental image-processing techniques with documentation of the faulty vehicle.

Video Data Bank is proud to present the wonderful work of artist Laura Parnes.

A Second Quarter is decidedly European; the “place” (Berlin) is the catalyst for the “action” (the work). The works recited in the film are concerned with barriers and borders, physical and geophysical phenomena.

Cherokee-American artist Jimmie Durham has worked in performance since the mid-’60s. In the ‘70s, he immersed himself in activism, working for Native American rights as part of the American Indian Movement.

"Between March 1972 and February 1977, the Videofreex aired 258 television broadcasts from a home-built studio and jerry-rigged transmitter in an old boarding house they rented in the tiny Catskill Mountain hamlet of Lanesville. It was a revolutionary act in defiance of FCC regulations — the first unlicensed TV station in America."

A Body in a Cemetery is a 15-min short film that documents a place-inspired solo performance by dancer/choreographer Eiko Otake in Green-Wood Cemetery, the U.S.’s second oldest cemetery in Brooklyn that holds 570,000 "permanent residents." Pres