This clip is rated R in Australia and not really suitable for the website of a family newspaper (which probably why it doesn't appear on YouTube) but you can watch it here.

Money For Nothing - Dire Straits (1985)

WITH its catchy guitar riff, Sting cameo, and controversy over allegations of homophobia, racism and sexism in the lyrics, Money For Nothing was always going to be a hit. But what really turned it into a phenomenon was the film clip. MTV flogged the hell out of, in no small part because the clip and song featured the music TV station's name quite prominently. In fact, MTV pushed for the band to make a film clip, despite frontman Mark Knopfler's dislike of videos, which he feared diluted the artistic integrity of the music. Knopfler relented, met with fledgling computer animators Ian Pearson and Gavin Blair and the rest, as they say, is history. The real eye-catching aspect - aside from Mark Knoplfer's rotoscoped flouro headband - was the computer-generated (CG) animation which looked like nothing anyone had ever seen before and grabbed people's attention, sending the song to the top of the charts worldwide and helping MTV become an American institution.

Dire Straits won't let us embed this video but you can watch it here.

The Scientist - Coldplay (2002)

THIS was certainly not the first clip to use backwards footage to great effect - the technique was used in Irish band Danny Wilson's 1989 video The Second Summer Of Love, Pharcyde's Spike Jonze-directed clip of '96 Drop, and awesome New Zealand group Supergroove's 1994 single You Gotta Know, to name just a few. All feature lots of running, jumping and taking clothes off, which all looks cool in reverse, especially in the Supergroove clip. The beauty of The Scientist is that it's a lot more subtle with a distinct story, rather than a lot of backwards shenanigans. Chris Martin was filmed walking forwards yet singing the song in reverse (it took a month to learn to sing the entire song backwards) so when played backwards, the footage follows Martin from a mattress on the street "back to the start'' where we witness a horrific car crash in reverse. Despite the difficulty, Martin's lip-synching is spot-on and the closing (or is that opening?) car crash is a bizarrely eerie climax.

Let Forever Be - Chemical Brothers (1999)

CHEMICAL Brothers always have good film clips. There's the clever two-part revolution of Out Of Control, the in-time looping backgrounds of Star Guitar, the skeletal fascination and X-Ray vision of Hey Boy Hey Girl, and the bizarre acrobatic dancing troll of Midnight Madness, just to name a few. But the visual wizardry of Michel Gondry's clip for Let Forever Be is the best and most awarded of their videos. Continuing Gondry's love of dreams (see also Foo Fighters' Everlong and his films The Science Of Sleep and Eternal Sunshine Of The Spotless Mind), it uses some ground-breaking camera trickery and clever editing to move in and out of synchronized dance routines and a girl's waking and dreaming life. The effect is dazzling and disorientating, much like the effect of a bad dream.

The Chemical Brothers won't let us embed this clip but you can watch it here.

Come To Daddy - Aphex Twin (1997)

THIS terrifying video, which is a favourite on Rage, not only drew attention to the eclectic-electro of Aphex Twin (aka Richard D. James) but also director Chris Cunningham. Cunningham's horrific industrial nightmare became his most popular clip to date, leading him to make some stunning videos for Portishead, Bjork and Madonna. It's easy to see why - Come To Daddy is scary as hell and perfectly fits James' brutal industrial sounds. There are snarling dogs, distorted video faces, and a freakish monster that oozes out of a TV and screams at an old lady, giving her a heart attack. The scariest part though is the horde of dancing, destructive youngsters whose faces have been digitally altered to look like James. Cunningham would replicate the trick in equally disturbing fashion when he reteamed with Aphex Twin to make the clip for Windowlicker (1999), in which a bunch of hot women, all featuring James' devilish, unmoving face, gyrate in the back of a limo with a man who also looks like James.