Bill Murray and Christopher Guest lead a behind-the-scenes tour of the 1976 showdown between the Dallas Cowboys and the Pittsburgh Steelers.

Mixing documentary reality with clever comic invention, TVTV decked itself out in tuxedos and ankle-length gowns to cover Hollywood's annual celebration.

This tape exemplifies Snyder’s early experiments with the image processor.

Forti uses the camera as a research tool to record the movements of three grizzly bears pacing anxiously behind the bars of their cage in the Brooklyn Zoo.

"Benglis manipulates generations of video footage to confound our sense of time; she implies an infinite regression of time and space — Benglis making faces in front of a monitor of her making…

With Benglis standing in front of a photograph of herself, which is then affixed to a monitor bearing her image, the notion of "original" is complicated—making the viewer acutely aware of the…

Using imagery from a Japanese "creature feature" and a chewing gum commercial, Benglis's camera focuses on different parts of the screen to emphasize different messages.

Baldessari presents photographs to his friend Ed Henderson and asks him to reconstruct the meaning of the image.

Baldessari asks Ed Henderson to discuss the meaning of selected news photos.

Baldessari has Ed Henderson examine obscure movie stills and attempt to reconstruct the films’ narratives.

The earliest of Benglis's videoworks, Noise calls attention to the assemblage element of video by allowing the image to disintegrate into static between edits.

This structurally simple video, shot through Benglis's apartment window, contains a, "distinct disjuncture between the visual and aural components of the work.