As Adrian Danks noted in his brilliantly detailed essay on the film in the journal Senses of Cinema, “completed over a three-year period, Bruce Conner’s Report  is one of the key works of 1960s avant-garde cinema, a refinement and extension of the filmmaker-artist’s film work to that date. In some respects, it is a return to the montage, association and found footage driven preoccupations of his first cinematic opus, the truly seminal and massively influential A Movie (1958), and something of a condensation of Conner’s key interests in popular culture, mass media, the contemporary power of celebrity, recontextualization, and the constitutive significance of cataclysmic violence to both the United States and what we might call late modernity.
Although enmeshed in the nature of cinema itself, as well as our experience of it (it is in essence both a visceral and intellectual encounter), Report equally resonates with Conner’s significant work in sculptural assemblage and what would become known as conceptual art. Initially conceived in the immediate aftermath of Kennedy’s murder, Report is a deeply felt work, an often lacerating but emotionally draining attempt to deal with John F. Kennedy’s death and the ways it was exploited by the mass media, particularly television (in fact, its use of such material as the “cross-hairs” included in countdown leader suggest an even greater level of culpability). It is also, aesthetically, a prescient but undervalued work, prefiguring the structuralist turn in much avant-garde cinema in the late 1960s.
Report is a film that asks for an affective response from its viewer but also requires forensic attention to detail and structure. It is never an easy film to watch. Roughly divided into uneven halves, it relies upon the principles of association, repetition, variation, recognition, and the often-contrapuntal relationship between sound and image to try to capture the “feeling” of the event. Conner’s decision to only partially ‘illustrate’ Kennedy’s assassination and its aftermath is both pragmatically and intellectually apt. Initially, Conner wanted to make a more conventional and fully-formed documentary on Kennedy’s death (how conventional even this film would have ended up being is another matter).
Living in Kennedy’s birthplace, Brookline, Massachusetts, at the time of his death, Conner originally intended to draw heavily upon television archives and to film the burial he expected to occur in his own neighborhood (Kennedy was ultimately buried at Arlington National Cemetery in Pennsylvania). The ambitious nature of Conner’s project was partly driven by the Ford Foundation Grant he had received (one of ten given to experimental filmmakers in 1964), but was also an outcome of an uncommon obsession (though perhaps quite common at the time) with the assassination. In this regard, Report can be considered as something of a mourning work, an attempt to deal with and actually register Kennedy’s death (an aspect that Conner builds into the form and structure of the film itself).”