This omnibus film was created for a workshop commemorating the 30th anniversary of Korea National University of Arts School of Film. Students, alumni, and faculty present eleven shorts exploring everyday images across film, photography, painting, games, animation, and advertising through contemplative, critical, and satirical approaches. From supercut aesthetics to structural compositions and essayistic narration, each work examines how images generate meaning. While functioning independently, these shorts intersect within a shared framework, offering new perspectives on viewing moving images.

The eleven short works that make up Fragments Across the Screen explore the possibilities of a still-emerging practice: the video essay, or audiovisual film criticism. Using pre-existing film and video as raw material, this form moves beyond mere citation or montage to expand the very language and expressive potential of cinema.

Today, such work is no longer confined to studies of individual films or directors. It now encompasses meta-critiques of entire genres and media, as well as probing explorations of digital culture. The pieces gathered here reflect critically on both classic and contemporary cinema—Korean and international alike—blending essayistic storytelling with found footage to examine the nature of digital images and narratives. Each of the eleven critics-turned-creators brings a distinctive voice, transforming every object of study and fragment of media into an original creation.

Equally striking is the visual motif that threads these standalone works together. The iconic sequence of Eadweard Muybridge’s galloping horse—a symbol bound to the very birth of cinema—recurs throughout, drawing each short into a larger shared space and generating a collective movement toward the “fragments across the screen.”

Composed in South Korea, 2025. Fragments Across the Screen collects found footage works from eleven filmmakers. They reassemble fleeting images and sounds, critically reconfiguring our audiovisual environment. Beyond everyday consumed imagery, these works propose meta-cinema—films about film itself.