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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Don Kirshner's Rock Concert is an American television music variety show that ran during the 1970s and early 1980s, created and produced by Don Kirshner and syndicated to television stations. It premiered on September 27, 1973, with a performance by The Rolling Stones; its last episode was in 1981.

A former world-famous conductor of the Bolshoï orchestra, known as "The Maëstro", Andreï Filipov had seen his career publicly broken by Leonid Brezhnev for hiring Jewish musicians and now works cleaning the concert hall where he once directed. One day, he intercepts an official invitation from the prestigious Théâtre du Châtelet. Through a series of mad antics, he reunites his old orchestra, now composed of old alcoholic musicians, and flies to perform in Paris and complete the Tchaikovsky concerto interrupted 30 years earlier. For the concerto, he engages a young violin soloist with whom he has an unexpected connection.

The Leslie Bell Singers work during the day and rehearse at night for the joy they find in singing. Here they present widely differing numbers: Echo Song from 16th-century Italy is followed by the Québec folk song Quand j'étais chez mon père; the black spiritual I Couldn't Hear Nobody Pray contrasts with I'se the Boy That Builds the Boat, from the fishing hamlets of Newfoundland; and finally a special arrangement of Schubert's Ave Maria.

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…