The article describes the screening of underground and experimental films on British TV since the 1960s, culminating in the 1980s with Channel 4 and BBC commissioning. It examines the pioneering screenings of new film and video produced by John Wyver, Ghosts in the Machine, 1985–8, and David Curtis' Midnight Underground, and the production of artists' films for television together with their influence on music videos and advertising. The essay gives a detailed account of the complex funding and screening procedures of the major organisations, including the BFI Production Board and the Arts Council. It claims that artists and producers were able to take advantage of a unique moment in broadcasting history to expand into TV between the demise of the structural film and the rise of new digital media arts. Rees discusses the polemics of the period, and how film and video artists adapted to the demands of broadcasters. The 'artist-led' TV 'interventions' of producer Anna Ridley are contrasted to the commissioned projects and series. The essay documents and discusses an under-researched and complex area of TV production, from the 1960s to the 1990s, starting with the first abstract TV by Lutz Becker and Peter Donebauer. It uses the archive of the Study Centre for British Artists' Film and Video, its research reports and numerous articles in the independent cinema press. This is the first extended survey of the field at length, and of its main institutional figures. The project required a close study of a complex production history, detailing a large number of overlapping funding and distribution schemes. The essay was fact-checked by David Curtis, director of the Study Collection, and by other participants. Other essays in the book discuss subjects such as documentary, drama, the hand-held camera, music videos and Ken Russell.