美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 　　Video-Film Concert 　　by Nam June Paik and Jud Yalkut 　　1966-72, 1992, 34:50 min, b&w and color, sound 　　Video Tape Study No. 3 1967-69, 4 min, b&w, sound 　　Beatles Electroniques 1966-69, 3 min, b&w and color, sound 　　Electronic Moon No. 2 1969, 4:30 min, color, sound 　　Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound 　　Waiting for Commercials 1972, 6:45 min, color, sound 　　Electronic Yoga 1972-92, 7:30 min, b&w and color, sound 　　This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. 　　These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. 　　Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. 　　Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. 　　Beatles Electroniques: Sound: Kenneth Lerner. 　　Electronic Moon No. 2: Sound: Debussy.

美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 　　Video-Film Concert 　　by Nam June Paik and Jud Yalkut 　　1966-72, 1992, 34:50 min, b&w and color, sound 　　Video Tape Study No. 3 1967-69, 4 min, b&w, sound 　　Beatles Electroniques 1966-69, 3 min, b&w and color, sound 　　Electronic Moon No. 2 1969, 4:30 min, color, sound 　　Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound 　　Waiting for Commercials 1972, 6:45 min, color, sound 　　Electronic Yoga 1972-92, 7:30 min, b&w and color, sound 　　This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. 　　These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. 　　Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. 　　Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. 　　Beatles Electroniques: Sound: Kenneth Lerner. 　　Electronic Moon No. 2: Sound: Debussy.

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Rock concerts used to be suspicious. They were supposed to attract all sorts of strange individuals who meant no good. In this case, it's a pair of escaped convicts who want to hide in the heat of the concert...

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David, a paraplegic father, has jeopardized his marriage and he has alienated his young son by putting his career ahead of his family's needs. He tries to redeem himself, but finds great challenges as he races across town in order to make it on time to his son's viola recital.

Jang-bu was an ordinary boy except his special talent; To see every moving thing like a slow motion video. As friends teased him by calling ‘monster eyes’, he decided to stick at home and not to go out. Television has been his only friend. Time passes by, and now grown-up Jang-bu works at the CCTV control center which is the best job for him. When he sees people’s life through camera, he feels he’s sharing their ordinary life that he’s never had. This new job opens his heart to the world and Jang-bu starts to make some friends out of the control center. With his dear friends he receives sense of himself and finally decides to propose a girl that he loved for long from CCTV…

Lorie Walker is a small town girl whose big dreams of becoming a dancer come true when she becomes a star in the Hip-Hop video world. But she soon learns the hard way that life in front of the camera is not as glamorous as it seems.

Three mostly normal, slightly weird teens go on an epic quest for a cult VHS collection. But on the way, they somehow get mixed up in a murder.

Se-dol (Young-ho), who goes to the video room, wants to watch a dirty movie, but hesitates every time he notices it. Lisa, who enjoyed traveling in Korea, misunderstood the blind date, went into the video room, misunderstood as a helper, and lost her embarrassing first experience. Hae-soo learns that Sedol, who leaves the video room to go to a part-time job at dawn, is on the verge of joining the army. Three years have passed since then. After being discharged, an unexpected visitor comes to Sedol, who was preparing for the national notice. A childhood friend who called each other Sedol and Simsun. After discovering each other's hearts that were their first love, Se-dol and Sim-sun spend an exciting night, Hae-su, who had a formal relationship with Se-dol, discovers the entangled relationship between the two, and then sinks.