Monday’s Google Doodle celebrates the 182nd birthday of British photographer Eadweard J Muybridge, whose serial photos of racehorses are considered among the earliest forms of videography.

“I dissected all of Hitchcock’s Rear Window and stitched it back together in After Effects,” writes Jeff Desom. “Since everything was filmed from pretty much the same angle I was able to match them into a single panoramic view of the entire backyard.”

Don’t understand Futurism? Well, this video won’t help. Cats and kids in skeleton suits comingle in Why Cecco Beppe Does Not Die (Scratch ‘n’ Sniff Edition), which claims to recreate a lost scene from the only official Futurist film, 1916’s Vita Futurista.

Werner Herzog’s film and TV examinations of death row transcend reportage to address the psychological and metaphysical issues of the death penalty. “The result is an utterly compelling meditation on the desolate emotional landscapes opened up by capital murder.”

Turning 25 over the weekend, ACT UP’s work is commemorated by the new film How to Survive a Plague (screening Monday night at MoMA), which examines the AIDS activism group’s “inside-outside” approach to protest and science policy-making.

Shepard Fairey, who was asked by Penguin Books to do cover art for George Orwell’s 1984 a few years ago, is now reportedly teaming up with Brian Grazer and Ron Howard to produce an adaptation of the 1949 work for the big screen.

“The concept is simple. Take every frame in a movie and compress it into a sliver, and put them next to each other. Voilá. Movie barcode.” Barcode-ized films range from Buñuel’s 1929 classic Un Chien Andalou to 2011’s The Tree of Life.