The title of this work indicates its content - Video Art Manual is Keren Cytter's way of explaining how to make video art; how different techniques can be applied and exploited and how information can be manipulated and presented to the viewer. The film opens in a clean office environment, where a slick man talks about processes, techniques, new media and producers of content as if it was a commercial, a sales pitch for making video art. Examining what is 'real' and what is 'fake' in the world of film, this work includes found footage from television, highly staged office scenes and interviews with people wanting to become actors. The viewer is confronted with a heady mix of English, German and Spanish as the film merges fast editing in the style of home movies with news broadcasts about the possible destructive solar storms and comic scenes featuring the Swiss tennis champion Roger Federer. It ends up as an absurd mash-up of human emotions and the theatricality of the news and film media. Keren Cytter undermines the relationship between actors, setting and camera as is typical for her handling of the film medium. Rather than unfolding the history of video art as an analysis of the medium and its development over the last forty years, Video Art Manual focuses on the conditions of the production, installation and consumption of contemporary video art. By doing so this film becomes a manual to her own work; her dogmas have been made into a work in itself'.