In A Taste of Home filmmaker David Yun attempts to reconcile the feelings of alienation he experienced while growing up in a suburban Detroit town with the emotions felt after returning home to care for his terminally ill mother. Combining landscape cinematography with a highly personal voiceover, A Taste of Home documents the filmmaker's changing relationship with his hometown under these new sets of circumstances while relating to larger questions of identity and our always changing relationships to our familial and communal histories.

A film that juxtaposes found footage of Japanese Internment camps in Arizona with a found letter written by a Muslim prisoner accused of running Al-Qaeda websites and awaiting extradition to Guantanamo Bay. In linking the two, the film traces a connection between the way Japanese Americans were perceived during World War II and how Muslims in the U.S. and aborad are being treated in a post-9/11 world while raising larger questions about the fragility of our own freedoms.

Digital Scratch Films are a series of sketches that explore the aesthetic possibilities of digital video. The name refers to a practice by experimental filmmakers in which they physically manipulate a film by painting, scratching, and hand procesing film stock producing a "scratch film". The idea is to think about video in the same frame-by-frame manner and perfecting digital "scratching" techniques in software such as Photoshop and Final Cut Pro.

In this project, Yun engages with a home movie found in a thrift store that documents the birth of a baby to an unknown family. Instead of working with the footage directly, Yun instead chooses to rephotograph the imagery off of a TV screen as it plays in a VCR. Baby Born engages with issues of familial history and the way in which time necessarily creates a fragmented, re-contextualized notion of our pasts.

Various video sketches done for fun.