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 a live music radio show, a letter arrives from the 23 years in the past. Through the letter, the first love and friendships of five friends are revealed.

Former Syracuse, New York, police detective Carrie Wells has hyperthymesia, a rare medical condition that gives her the ability to visually remember everything. She reluctantly joins the New York City Police Department's Queens homicide unit after her former boyfriend and partner asks for help with solving a case. The move allows her to try to find out the one thing she has been unable to remember, which is what happened the day her sister was murdered.

Barely coping with the end of her marriage, Tessa Connover learns that her ex-husband, David, is now happily engaged to Julia. Trying to settle into her new life after moving in with David, Julia believes she has finally met the man of her dreams, the man who can help her forget her troubled past. Soon, Tessa's jealousy starts to consume her, and she will stop at nothing to turn Julia's paradise into the ultimate nightmare.

There is HWAPYONG Restaurant with full of hopes of the family of three generations. Grandfather, the first-generation owner, and the first son, the second-generation owner, who lives as a fugitive after being branded as a communist and his wife and Cheol-soo’s mom who has to work hard by juggling work and family without complaint. The second son, Cheol-soo’s uncle, who sometimes acts like a child with an excuse of being the second son but loves Cheol-soo more than anyone and seriously cares about the restaurant. To the third generation, young Cheol-soo, family is the most precious. By the time when ‘Seoul Spring’ longing for democratization came to nothing due to ‘Retreat from Seoul Station’ in 1980, there were a series of peaceful protests in Gwangju, Jeolla Province. In warm May, a large dark cloud is looming over HWAPYONG Restaurant, the home and everything of this ordinary family of Cheol-soo, in the middle of Gwangju.

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.

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.