the movie is a series of tv news shots and the viewer has to piece it together

In the near future, a drone pilot is sent into a deadly militarized zone and must work with an android officer to locate a doomsday device.

Told from the points of view of both the Baltimore homicide and narcotics detectives and their targets, the series captures a universe in which the national war on drugs has become a permanent, self-sustaining bureaucracy, and distinctions between good and evil are routinely obliterated.

While recording sound effects for a slasher flick, Jack Terry stumbles upon a real-life horror: a car careening off a bridge and into a river. Jack jumps into the water and fishes out Sally from the car, but the other passenger is already dead — a governor intending to run for president. As Jack does some investigating of his tapes, and starts a perilous romance with Sally, he enters a tangled web of conspiracy that might leave him dead.

A crazed bomber is terrorizing the city. Meanwhile, a young Porky Pig is a few cents shy of buying an ice cream soda; he starts earning it by picking up items people drop and handing them back to them.

A week in the life of the exploited, child newspaper sellers in turn-of-the-century New York. When their publisher, Joseph Pulitzer, tries to squeeze a little more profit out of their labours, they organize a strike, only to be confronted with the Pulitzer's hard-ball tactics.

A week in the life of the exploited, child newspaper sellers in turn-of-the-century New York. When their publisher, Joseph Pulitzer, tries to squeeze a little more profit out of their labours, they organize a strike, only to be confronted with the Pulitzer's hard-ball tactics.

An observational film that using the fragmented format of a newscast program proposes a cinematic glance to the same reality depicted daily by the media.

In TV Dictonary, Breder gives his vision or memory of what he has seen. The television images, often recognizable from modern film classics, have been cut loose by him from the actual sequence of the original story and placed in a new, personal sequence. As a result, the storyline does not dominate (which in narrative films often gives the images their meaning/function), but the images stand more on their own as if they are treated as lemmas one by one. Details and film symbolism of the sampled images have been brought to the fore by stretching the time and reversing the sequences of the images. Despite the fact that each chapter 'written' by Breder has a clear beginning and end, a meaning is generated that stands on its own and lies outside a story or anecdote. The tension is heightened by repetitions, the complex structures in which the original is incorporated and the compelling soundtrack composed of film scores.