The course focuses on the cultural and political issues of video, problematized by artists who have made it a tool for investigation. In the context of countercultural movements of the 1960s, experiments with this new technique establish utopian alternatives to authoritarian modes of communication used by the media. While participatory television projects integrate diverse publics, feminists use cameras and videocassette recorders to appropriate stereotyped roles naturalized by advertising and popular cinema. At the intersection of various practices, the act of capturing one's image while acting enables the performance of alternative behaviors. In 1980, the aim is to dismantle the structures of storytelling that shape our understanding of the world. This historical perspective will enable the development of critical tools for engaging with digital program classification systems and content capitalized by connected technologies.