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Cinema’s original canons were based on a small number of works most highly esteemed by archivists and historians. But access to the history of film has been dramatically expanded by digital media, as have debates between those arguing from different premises.
Italo-Byzantine art will be considered as background to the early or ‘proto’ Renaissance at a time when Italy was a focus of stylistic cross-currents from South, East and Northern Europe.
Canons of taste and value in other media, such as literature, art and music, have been challenged in recent decades by proponents of sexual and ethnic equality.
Mata Hari was an erotic dancer who, in 1917, was executed by the French army for treason. She has been portrayed as the ultimate femme fatale, extracting information from hapless men through exploiting her sensual charms.
Despite the controversy, evolution was widely accepted by many naturalists within a few years of the Origin’s appearance. An important reason for this rapid triumph was Darwin’s botanical works. Seen through evolutionary eyes, plants proved to be mobile, carnivorous, sensitive – even crafty.
For nearly seventy years, what might be called ‘the canon’ of greatest films has been arbitrated by an international poll of critics delivering a ‘ten best’ list every decade, published in the BFI’s Sight & Sound.