Vids can be seen as both music videos and found footage films. They have the form and appearance of a music video, and they re-use existing moving images in a way that appears to meet the definition of found footage work or remix video art. Of course, as a form of fanwork, the vid form does not arise from commercial interests, and likewise it is not aligned with traditions of experimental moving image art practice. Vids are in dialogue with both as well as with other, newer forms of internet video expression as found through YouTube (for example, see Burgess and Green 2009; Grainge 2011; Vernallis 2013) and with a growing academic/pedagogical interest in videographic criticism and video essays (led by the work of Catherine Grant; see also McWhirter 2015). However, despite being short videos with music, vids are not music videos; despite being critically grounded experiments in recombining moving images, they are arguably not experimental films or video works (in a traditional sense). Vidding has resonances with these proximate forms, and there is, therefore, value in exploring music video and experimental art alongside the vid in building a more complete story of the re-use of existing media. This chapter establishes some parameters within which the vid can be viewed in relation to related instances of video and film work; these additional lenses—beyond fan studies and television studies—offer further reference points through which to understand vids.