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The city's academies are divided into their own districts and are considered mostly independent.The General Student Council acts as a governing board to manage the academies as a whole. However, the group's ability to govern has come to a halt since the mysterious disappearance of the General Student Council president. Countless issues have begun to surface throughout Kivotos in the absence of the president's leadership.To avoid disaster, the General Student Council requests assistance from the Federal Investigation Club, otherwise known as Schale. In fact, Schale is the city's newest club and the last to be approved before the president's disappearance.To accomplish its task, Schale relies on the guidance of a Sensei who can help them resolve the incidents around Kivotos.

It was produced to commemorate the 40th anniversary of Korean Film Archive.

It was produced to commemorate the 40th anniversary of Korean Film Archive.

A Los Angeles tollbooth clerk becomes obsessed with the Holocaust after meeting a survivor.

A Los Angeles tollbooth clerk becomes obsessed with the Holocaust after meeting a survivor.

The Unforgettable Memory is a Taiwanese prime-time television series, originally broadcast on Formosa Television from 22 September 2004 to 28 September 2006 for 526 episodes. With a run-time of over 50,000 minutes, it is the longest Taiwanese TV drama in the 21st century.

On an unnamed island off an unnamed coast, things have begun to disappear: at first little things: ribbons and then roses. Soon, photographs. However, a rare few are able to remember all that no longer exists – but the Memory Police are determined to make sure that what has been erased, remains forgotten forever. When a young novelist realizes her book editor is one of those able to still remember, she hides him in a room beneath her floorboards. As the world closes in around them, they struggle defiantly to hold onto the truth.

The Third Memory, 2000. Two-channel video projection, with sound, 9 min., 32 sec.; single-channel video with sound, 22 min., 30 sec.; and thirteen inkjet prints, edition 2/4, dimensions variable. 　　Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet’s acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist’s charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.

The Third Memory, 2000. Two-channel video projection, with sound, 9 min., 32 sec.; single-channel video with sound, 22 min., 30 sec.; and thirteen inkjet prints, edition 2/4, dimensions variable. 　　Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet’s acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist’s charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.