Video Documentaries

In this First Civilizations - Religion episode 2 discover the secret to the stability and cohesion of Ancient Egypt—religion. When people share a core set of beliefs, they are more likely to identify as one. That was true for the first civilizations and it's just as true today. A look at the first human civilizations, which emerged in the Near East, Egypt, the Indus Valley, China, the Andes, and Mesoamerica. All subsequent civilizations have been derived from these original six foundational civilizations. First Civilizations Having lived as mobile foragers for 99 percent of our time on Earth, why did humans set out on the road to civilization? How did they create villages, towns, cities, and states, and establish the blueprint for the modern world? First Civilizations identifies four cornerstones of civilization - war, religion, cities and trade - and explores each in the context of a different location, from Mexico, Guatemala, Iraq, Turkey, Egypt, India, and Pakistan, to Oman, Mor

In Civilisations episode 9, Simon Schama begins Civilisations with this premise: that it is in art - the play of the creative imagination - that humanity expresses its most essential self: the power to break the tyranny of the humdrum, the grind of everyday. Art, then, makes life worth living; it is the great window into human potential. And societies become civilised to the extent that they take culture as seriously as the prosecution of power, or the accumulation of wealth. But in the century of total war and industrial slaughter was (and is) that enough? The cause of humanity went up in the smoke of the Nazi crematoria. Horror and terror brushed beauty aside and stamped on its pretensions. And in the modern world art has become increasingly commodified. Simon’s last programme explores the fate of art in the machine and profit-driven world. It looks at the rise of art as a tradeable commodity and turns on one central question: should art create a realm separate from the modern world,

If David Olusoga’s first film in Civilisations is about the art that followed and reflected early encounters between different cultures, his second explores the artistic reaction to imperialism in the 19th century. David shows the growing ambivalence with which artists reacted to the idea of progress – both intellectual and scientific - that underpinned the imperial mission and followed the Enlightenment and the Industrial Revolution. Advances in knowledge and technology imbued Europeans in the 19th century with a sense of their civilisation’s superiority. It justified their imperial ideology. But it created among artists a deep fascinations with other civilisations which in turn produced a scepticism about their own. By contrast, as European artists questioned their civilisation’s ‘advance’, in America painters sought to capture an idea of their new nation’s ‘manifest destiny’ in landscapes. And in their representation of the Native Americans they sought to record for posterity the wo

In Civilisations episode 7, Simon Schama starts his meditation on colour and civilisation with the great Gothic cathedrals of Amiens and Chartres. He then moves to 16th century Venice where masterpieces such as Giovanni Bellini’s San Zaccaria altarpiece and Titian’s Bacchus and Ariadne contested the assumption that drawing would always be superior to colouring. As the Baroque took hold in enlightenment Europe another Venetian, Giambattista Tiepolo, created a ceiling fresco Apollo and the Four Continents at the Bishop’s palace in Würzburg. In a glorious sequence Simon celebrates this grand opera of light, colour, and dancing line: a dizzying lift-off into 18th century elation. But if light could open the gates of ecstasy it could also drop art into the abyss. Francisco Goya began by working in the Venetian tradition but in the last years of his life his Black Paintings drained colour from the world of light. The art of colour discovered a new mission which somehow sustained the old: how

In the 15th and 16th centuries distant and disparate cultures met, often for the first time. These encounters provoked wonder, awe, bafflement and fear. And, as historian of empire David Olusoga shows, art was always on the frontline. Each cultural contact at this time left a mark on both sides: the magnificent Benin bronzes record the meeting of an ancient West African kingdom and Portuguese voyagers in a spirit of mutual respect and exchange. By contrast we think Spain’s conquest of Central America in the 16th century as decimating the Aztecs and eviscerating their culture. But David shows even in Mexico rare surviving Aztec artworks recall a more nuanced story. He travels to Japan to explore how the Tokugawa Shogunate, after an initial embrace, became so wary of outside interference that they sought to cut ties with the outside world. But in their art, as in their trade, they could never truly isolate themselves from foreign influences. By contrast the Protestant Dutch Republic was

Think Renaissance and you think Italy. But in the 15th and 16th centuries the great Islamic empires experienced their own extraordinary cultural flowering. The two phenomena did not unfold in separate artistic universes; they were acutely conscious of, and in competition with, each other and mutually open to influences flowing both ways.   The fifth film in Civilisations goes east and west with Simon Schama: to Papal Rome but also to Ottoman Istanbul and Mughal Lahore and Agra, exploring those connections and rivalries, and examining how the role of artists from the different traditions of West and East developed in the years that followed the Renaissances. That rivalry unfolds most spectacularly over the creation of domes – in Ottoman Istanbul the great engineer-architect Mimar Sinan builds the light-flooded Süleymaniye mosque, while at the same time in Rome Michelangelo designs the great dome over the St Peter’s Basilica. The fate of the hero-artist, seemingly touched by God, with th

In Civilisations episode 2, Professor Mary Beard explores images of the human body in ancient art, from Mexico and Greece to Egypt and China. Mary seeks answers to fundamental questions at the heart of ideas about civilisations. Why have human beings always made art about themselves? What were these images for? And in what ways do some ancient conventions of representing the body still affect us now? In raising these questions, Mary explores how the way we look can influence our ideas of what is civilised. The colossal prehistoric Olmec heads in Mexico set the scene. In a culture with no written record, all we can do is puzzle about what these images were for, whom they represented, and why they were constructed. Mary Beard moves to other ancient cultures where more evidence has survived. She looks at images that are far more than art objects - images from Egyptian statues to the terracotta warriors of ancient China that actively participate in the social world, that teach men and wome

Civilisations episode 1 - The Second Moment of Creation: the first film by Simon Schama looks at the formative role art and the creative imagination have played in the forging of humanity itself. The Second Moment of Creation The film opens with Simon's passionate endorsement of the creative spirit in humanity and the way in which art can help to forge the civilised life. Civilisation may be impossible to define, but its opposite - evidenced throughout history in the human urge to destroy - is all too evident whenever and wherever it erupts. Simon Schama explores the remote origins of human creativity with the first known marks made some 80,000 years ago in South African caves - marks which were not dictated merely by humanity's physical needs. He marvels at the later cave works - shapes of hands, in red stencils on the walls of caves, and at the paintings of bison and bulls, and Stone Age carvings. As time passes, the elements of civilisation are assembled - written language,