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Britain’s pioneer filmmaker, born 150 years ago in North London, vividly portrayed the variety of life in ‘the imperial metropolis’ at the end of the 19th century, conscious of its historic appeal but also emphasising the modernity of which he was a part.
Musorgsky’s opera Boris Godunov (1872) is set in the ‘Time of Troubles’, using Pushkin’s incisive verse tragedy on the chaotic period preceding the establishment of the Romanovs.
The rousing finale of Mikhail Glinka's patriotic A Life for the Tsar (1836) guaranteed it a place as the traditional season opener in Russian opera houses.
The earliest London-made films showed the Victorian city doing everyday business, before its fictional screen image became increasingly shadowy and sinister.
The media and medicine have different perspectives. This lecture will use examples of how the public may be misled and consider the implications of such misunderstanding.
Moving pictures may not have been the innovation once claimed, but within a decade few could doubt that they had become a major force in changing the Edwardian world.
Stereoscopic photography rapidly became a worldwide craze after the Great Exhibition of 1851. Cheap viewers and mass-produced stereographs brought startlingly vivid images within reach of a mass audience, making this the form in which most people first encountered photography.