0 00:00:08,927 --> 00:00:11,157 DAVID DIMBLEBY: Where am I? 1 00:00:12,367 --> 00:00:13,402 Where am I? 2 00:00:14,967 --> 00:00:16,764 Am I outside? 3 00:00:19,967 --> 00:00:21,480 (GRUNTING) 4 00:00:26,807 --> 00:00:29,275 WOMAN: Help me with the face, please, Cadmus. 5 00:00:29,327 --> 00:00:30,601 Cadmus! 6 00:00:32,327 --> 00:00:34,887 Put the hammer down and go and get changed. 7 00:00:35,927 --> 00:00:37,883 Changed? 8 00:00:37,927 --> 00:00:40,600 This is the beginning of the 2Oth century. 9 00:00:40,647 --> 00:00:41,966 Alphabet? 10 00:00:42,007 --> 00:00:44,919 The 2Oth century, not the 1 st. 11 00:00:44,967 --> 00:00:47,083 WOMAN: Help me. 12 00:00:54,407 --> 00:00:57,683 We can control the modern age with this face. 13 00:00:57,727 --> 00:00:59,797 CADMUS: Face. 14 00:00:59,847 --> 00:01:03,157 - Face! - Be careful with it, Cadmus. 15 00:01:03,207 --> 00:01:07,723 - Cadmus play with face. - Be careful with it, Cadmus! 16 00:01:10,167 --> 00:01:13,318 - Eye-balling... - DAVID: Excuse me! 17 00:01:13,367 --> 00:01:16,484 It's slipping. Help me keep it together. 18 00:01:16,527 --> 00:01:20,486 Now, what shall we make it say? 19 00:01:21,767 --> 00:01:22,882 CADMUS: Mouth! 20 00:01:22,927 --> 00:01:24,121 (MUFFLED) Would you mind not...? 21 00:01:24,167 --> 00:01:26,681 Mouth! Kisses! 22 00:01:26,727 --> 00:01:28,206 Take your hand out of my mouth! 23 00:01:28,247 --> 00:01:29,316 Cadmus! 24 00:01:29,367 --> 00:01:32,086 Ah...! 25 00:01:46,767 --> 00:01:51,716 I'm part of a work of art by the contemporary artist, Nathaniel Mellors. 26 00:01:51,767 --> 00:01:56,158 He's used film, sculpture, performance 27 00:01:56,207 --> 00:02:00,280 to make a comment on the role of television in modern society. 28 00:02:00,327 --> 00:02:04,240 Whatever you make of it, it shows how much art has changed 29 00:02:04,287 --> 00:02:08,644 in the last 1 OO years from pictures hanging in the walls of galleries 30 00:02:08,687 --> 00:02:10,200 to this. 31 00:02:10,247 --> 00:02:14,718 The 2Oth century was an age of ambition, 32 00:02:14,767 --> 00:02:17,201 when we turned our society upside down, 33 00:02:17,247 --> 00:02:20,284 when people felt freed from the old traditions 34 00:02:20,327 --> 00:02:23,239 to experiment as they chose with their lives. 35 00:02:23,287 --> 00:02:28,964 And these changes were reflected, as always, in our art. 36 00:03:05,927 --> 00:03:08,157 At the beginning of the 2Oth century, 37 00:03:08,207 --> 00:03:13,156 Britain was intent on throwing off the shackles of the Victorian era. 38 00:03:15,887 --> 00:03:19,197 We were an urbanised, industrialised nation, 39 00:03:19,247 --> 00:03:22,444 where new forms of transport and communication 40 00:03:22,487 --> 00:03:26,002 promised to change everyone's life for the better. 41 00:03:40,007 --> 00:03:44,046 But the century had hardly started before we were knocked off course 42 00:03:44,087 --> 00:03:48,319 by an event which changed the direction of our history. 43 00:04:00,727 --> 00:04:05,323 Modern Britain was forged in the trenches of the First World War. 44 00:04:05,367 --> 00:04:08,803 When it started in 1 91 4, people thought it would only go on 45 00:04:08,847 --> 00:04:12,123 for a few months, but it lasted over four years. 46 00:04:12,167 --> 00:04:16,365 And in the slaughter of British forces alone, 47 00:04:16,407 --> 00:04:19,763 nearly a million lost their lives. 48 00:04:24,127 --> 00:04:28,723 The brilliant technology designed to improve the quality of life 49 00:04:28,767 --> 00:04:31,486 was perverted to the service of death. 50 00:04:40,927 --> 00:04:44,556 Man had made the machines. 51 00:04:44,607 --> 00:04:47,440 Now he was destroyed by them. 52 00:04:49,367 --> 00:04:55,442 As always, artists were sent to the front line to record the scene. 53 00:04:55,487 --> 00:04:59,446 But what they saw there defied their imagination. 54 00:05:02,487 --> 00:05:06,605 It was beyond anything they had experienced before. 55 00:05:10,247 --> 00:05:14,081 It soon became clear that traditional painting couldn't capture 56 00:05:14,127 --> 00:05:16,641 the full horror of modern warfare. 57 00:05:16,687 --> 00:05:19,042 One elderly painter, who'd made a career 58 00:05:19,087 --> 00:05:21,885 of battle scenes, cavalry charges and the like, 59 00:05:21,927 --> 00:05:24,919 put it rather well, saying, ''The gallant plumage, 60 00:05:24,967 --> 00:05:31,122 ''the glint of gold and silver, had given way to universal grimness.'' 61 00:05:31,167 --> 00:05:35,445 It took a new generation of painters to rise to the challenge. 62 00:05:35,487 --> 00:05:37,239 They were known as modernists, 63 00:05:37,287 --> 00:05:39,084 and, for them, modernism meant 64 00:05:39,127 --> 00:05:44,042 having the courage to look at the harsh reality of the world, however grim it was, 65 00:05:44,087 --> 00:05:48,683 and then to paint not precisely what they saw, but what they felt. 66 00:05:52,927 --> 00:05:54,599 (GUNFIRE) 67 00:06:16,207 --> 00:06:22,521 And up here at this end is perhaps the grimmest painting of the First World War, 68 00:06:22,567 --> 00:06:24,876 Paul Nash's Menin Road. 69 00:06:38,847 --> 00:06:40,724 Nash had served as a solider, 70 00:06:40,767 --> 00:06:44,282 and this shows the battlefield of Flanders as it was 71 00:06:44,327 --> 00:06:46,238 once war had passed over it. 72 00:06:46,287 --> 00:06:49,643 The soft green fields obliterated 73 00:06:49,687 --> 00:06:54,522 and, instead, a kind of horrific moonscape of mud, 74 00:06:54,567 --> 00:06:58,845 pitted with shell holes full of fetid water 75 00:06:58,887 --> 00:07:01,685 and strange bits of detritus in it. 76 00:07:01,727 --> 00:07:06,596 The trees, their branches all gone, just standing, 77 00:07:06,647 --> 00:07:10,162 forlorn trunks, robbed of life. 78 00:07:12,127 --> 00:07:14,960 Even the colours are unreal. 79 00:07:15,007 --> 00:07:21,845 This sort of pink box there floating in the water. 80 00:07:21,887 --> 00:07:27,280 And then these shafts of blue and greeny-blue light 81 00:07:27,327 --> 00:07:31,161 coming through the black clouds. 82 00:07:31,207 --> 00:07:32,686 A burst of smoke 83 00:07:32,727 --> 00:07:35,002 from a shell here and a shell there. 84 00:07:38,167 --> 00:07:40,522 And there's nobody in this landscape 85 00:07:40,567 --> 00:07:43,400 except for these four figures, 86 00:07:43,447 --> 00:07:47,599 stumbling back to what they hope will be safety. 87 00:07:51,527 --> 00:07:56,237 Nash said that with this painting, he wanted to rob warfare 88 00:07:56,287 --> 00:08:01,486 of its last shred of glory and its last shine of glamour, 89 00:08:01,527 --> 00:08:03,961 and he certainly succeeds. 90 00:08:20,687 --> 00:08:25,203 The war had taken its toll on everyone in Britain - 91 00:08:25,247 --> 00:08:29,001 men and women of all classes of society. 92 00:08:29,047 --> 00:08:31,322 When it ended, 93 00:08:31,407 --> 00:08:36,879 the plan was that everyone would share in the fruits of victory. 94 00:08:36,927 --> 00:08:39,725 Britain would become ''a land fit for heroes''. 95 00:08:42,127 --> 00:08:44,516 New homes were built. 96 00:08:49,487 --> 00:08:55,244 Technology was harnessed to liberate families from domestic slavery, 97 00:08:55,287 --> 00:08:57,357 able to enjoy new freedoms. 98 00:09:08,327 --> 00:09:11,160 Of all the freedoms of the 2Oth century, 99 00:09:11,207 --> 00:09:14,677 the most valued was the freedom of the open road. 100 00:09:18,727 --> 00:09:21,480 Cars had been around since the end of the previous century, 101 00:09:21,527 --> 00:09:23,995 but they were only for the rich. 102 00:09:24,047 --> 00:09:26,607 And then along came this... 103 00:09:29,127 --> 00:09:33,723 ...the Austin Seven, one of the greatest cars ever made. 104 00:09:44,047 --> 00:09:47,039 The Austin Seven was designed by Herbert Austin. 105 00:09:47,087 --> 00:09:49,647 He'd been an armaments manufacturer in the war 106 00:09:49,687 --> 00:09:53,760 and decided that after the war what was needed was a small family car 107 00:09:53,807 --> 00:09:57,846 and nothing as small as this had ever been seen. 108 00:10:01,127 --> 00:10:07,396 In 1 922, when it came out, the Austin Seven sold for £1 65. 109 00:10:07,447 --> 00:10:10,598 ''Motoring for the million,'' it was called. 110 00:10:10,647 --> 00:10:14,356 ''So cheap to run, it makes walking foolish.'' 111 00:10:15,407 --> 00:10:17,284 And the astonishing thing about it 112 00:10:17,327 --> 00:10:23,516 is that though from the outside it looks so tiny, actually, when you get inside, 113 00:10:23,567 --> 00:10:25,683 it's really very comfortable. 114 00:10:29,087 --> 00:10:31,317 Let's see how it goes. 115 00:10:31,367 --> 00:10:32,846 (HORN HOOTS) 116 00:10:42,327 --> 00:10:47,196 The Austin Seven is a work of art in its own right - simple and beautiful. 117 00:10:48,327 --> 00:10:50,318 Oh! 118 00:10:50,367 --> 00:10:56,203 Its admirers still club together to go on nostalgic trips into the past. 119 00:11:02,127 --> 00:11:05,005 - Poop-poop! - (TOOTING) 120 00:11:09,007 --> 00:11:12,602 The first car I ever owned was an Austin Seven like this. 121 00:11:12,647 --> 00:11:16,435 Mine didn't have a roof, so you were always out in the open. 122 00:11:16,487 --> 00:11:20,844 You could hear the birds sing, you could smell the fields going past, 123 00:11:20,887 --> 00:11:22,400 and when it rained, you got wet. 124 00:11:22,447 --> 00:11:24,881 And when it snowed, you were well advised to give up. 125 00:11:28,167 --> 00:11:32,160 If you got to a very steep hill, you had to go up in reverse, 126 00:11:32,207 --> 00:11:35,244 because reverse gear was lower than first gear. 127 00:11:58,207 --> 00:12:00,163 What is it that's special about the car? 128 00:12:00,207 --> 00:12:05,122 Well, they've just got nice curves and they're just pretty. 129 00:12:05,167 --> 00:12:10,480 You know, the lovely run from the open running board over to the wing. Lovely! 130 00:12:13,927 --> 00:12:16,236 What does it do for you, the appearance of it? 131 00:12:16,287 --> 00:12:18,847 Well, I just think they're so sweet and small. 132 00:12:18,887 --> 00:12:21,924 They're like as if they're smiling at you, you know. 133 00:12:21,967 --> 00:12:23,878 They're super little cars. 134 00:12:31,367 --> 00:12:34,643 In the same year the Austin Seven was launched, 135 00:12:34,687 --> 00:12:37,645 another miracle of technology appeared, 136 00:12:37,687 --> 00:12:41,362 one that would open a window on the world about us. 137 00:12:41,407 --> 00:12:46,162 MAN: Hello, radio terminal. BBC here. Are you getting ready for our broadcast? 138 00:12:48,007 --> 00:12:52,398 DAVID: A group of pioneering companies came together to form the BBC. 139 00:12:53,647 --> 00:12:56,207 MAN: This is the National Programme. 140 00:12:56,247 --> 00:13:00,798 The BBC Symphony Orchestra, conductor Adrian Boult, 141 00:13:00,847 --> 00:13:04,123 will play Beethoven's 5th Symphony. 142 00:13:06,247 --> 00:13:08,807 (ORCHESTRA STRIKES UP) 143 00:13:13,247 --> 00:13:15,761 ( # LUDWIG VAN BEETHOVEN: Symphony No. 5 In C Minor) 144 00:13:28,847 --> 00:13:32,203 From the start, radio captured the public imagination. 145 00:13:32,247 --> 00:13:34,602 Many more people subscribed for licences 146 00:13:34,647 --> 00:13:37,081 than was expected. I don't know what it was. 147 00:13:37,127 --> 00:13:40,483 Maybe it was the magic of voices coming over the airwaves, 148 00:13:40,527 --> 00:13:44,236 perhaps it was regular news bulletins, weather forecasts, 149 00:13:44,287 --> 00:13:47,723 maybe it was something as simple as everybody in the country 150 00:13:47,767 --> 00:13:51,885 for the first time being able to set their clocks and watches by Big Ben. 151 00:13:51,927 --> 00:13:54,964 Whatever it was, radio became the new religion, 152 00:13:55,007 --> 00:14:00,604 a spirit reflected in the design of the BBC's first headquarters. 153 00:14:12,287 --> 00:14:17,600 Broadcasting House, completed in 1 93 1, was a hymn to modernity. 154 00:14:21,927 --> 00:14:26,443 It was designed in the fashionable Art Deco style, often described 155 00:14:26,487 --> 00:14:31,197 as an ocean liner anchored at the top of London's Regent Street. 156 00:14:35,407 --> 00:14:38,444 The BBC called it ''a temple to the arts'', 157 00:14:38,487 --> 00:14:43,003 and, like all temples, it wasn't just functional, it had to have decoration 158 00:14:43,047 --> 00:14:45,607 to say what its purpose was. 159 00:14:45,647 --> 00:14:49,560 Here, the sculptor Eric Gill was commissioned to make two figures 160 00:14:49,607 --> 00:14:51,802 that stand over the doorway. 161 00:14:51,847 --> 00:14:58,116 Some people looking at it think it's the figure of God and Christ, 162 00:14:58,167 --> 00:15:02,399 but in reality it's from Shakespeare's Tempest, 163 00:15:02,447 --> 00:15:05,120 the figure of Ariel and Prospero. 164 00:15:05,167 --> 00:15:10,002 Ariel, the fairy spirit, carrying the radio waves around the world, 165 00:15:10,047 --> 00:15:14,643 guided by Prospero, who presumably is the broadcaster. 166 00:15:44,127 --> 00:15:46,880 This is where it all began. 167 00:15:46,927 --> 00:15:50,363 This is the very first BBC radio transmitter. 168 00:15:52,207 --> 00:15:54,437 (BEEPING, DISTANT VOICES) 169 00:15:58,967 --> 00:16:01,845 AMERICAN MAN: I received that signal. It is OK. 170 00:16:01,887 --> 00:16:04,959 BRITISH MAN: Will you go ahead five seconds from now? 171 00:16:05,007 --> 00:16:10,639 It started broadcasting on the evening of the 1 4th of November 1 922 172 00:16:10,687 --> 00:16:15,602 with the famous call sign ''2LO calling, London calling.'' 173 00:16:15,647 --> 00:16:16,921 MAN: This is 2LO calling. 174 00:16:16,967 --> 00:16:18,480 SECOND MAN: This is London calling. 175 00:16:18,527 --> 00:16:20,722 THIRD MAN: This is the BBC Home And Forces Programme. 176 00:16:20,767 --> 00:16:23,076 FOURTH MAN: This is the BBC Home Service... 177 00:16:30,047 --> 00:16:34,404 Now, the way it was received to start with was not the radio set, of course, 178 00:16:34,447 --> 00:16:35,721 but the crystal set. 179 00:16:35,767 --> 00:16:41,922 This is a typical crystal set that most people had at the beginning in the '2Os. 180 00:16:41,967 --> 00:16:43,878 I had one of these when I was at school. 181 00:16:43,927 --> 00:16:45,963 They were very, very difficult to get to work. 182 00:16:46,007 --> 00:16:48,601 You fiddled around with that till you got a signal. 183 00:16:48,647 --> 00:16:51,923 You put the headphones on, you spun the dial 184 00:16:51,967 --> 00:16:55,437 and if you were lucky, you could very faintly pick up music 185 00:16:55,487 --> 00:16:57,603 or the sound of a voice. 186 00:16:57,647 --> 00:17:03,165 Quite soon, that gave way to these impressive machines. 187 00:17:03,207 --> 00:17:07,246 These are full-blown radios with valves inside. 188 00:17:07,287 --> 00:17:11,075 The whole family could sit in the living room listening to the radio. 189 00:17:11,127 --> 00:17:14,437 And that was the point - it became a family event. 190 00:17:14,487 --> 00:17:16,955 And the design of them was important too, 191 00:17:17,007 --> 00:17:20,124 because the design had to carry the message of what radio was about. 192 00:17:20,167 --> 00:17:23,557 Radio is about light entering your world. 193 00:17:23,607 --> 00:17:28,158 A sun with the rays of sunlight through the clouds. 194 00:17:28,207 --> 00:17:33,520 Radio is about a beacon transmitting like a lighthouse does. 195 00:17:33,567 --> 00:17:36,081 So here's the lighthouse and the rays of light. 196 00:17:37,927 --> 00:17:41,715 But this perhaps is the most beautiful of all. 197 00:17:41,767 --> 00:17:44,565 This is the circular radio, 198 00:17:44,607 --> 00:17:49,203 designed by the architect Wells Coates in 1 932. 199 00:17:50,247 --> 00:17:53,762 He was obsessed with things being beautiful, not just functional. 200 00:17:53,807 --> 00:17:57,083 So, whether it was a house or a flat or the design of a radio, 201 00:17:57,127 --> 00:18:02,485 it had to look good, it had to look exciting, it had to please the eye. 202 00:18:02,527 --> 00:18:06,566 It's a kind of shrine to radio, this. 203 00:18:06,607 --> 00:18:13,206 It's rather magical, because you almost feel you could listen carefully 204 00:18:13,247 --> 00:18:17,877 and hear all these voices of the past coming out of these sets. 205 00:18:17,927 --> 00:18:25,402 EDWARD VIII: A few hours ago, I discharged my last duty as King and Emperor... 206 00:18:25,447 --> 00:18:31,283 (ADOLF HITLER SPEAKING ON RADIO) 207 00:18:31,327 --> 00:18:34,558 NEVILLE CHAMBERLAIN: As long as war has not begun, 208 00:18:34,607 --> 00:18:36,598 there is always hope that it may be prevented. 209 00:18:36,647 --> 00:18:39,878 Just think how many voices these radio sets must have transmitted. 210 00:18:39,927 --> 00:18:44,523 WINSTON CHURCHILL: I speak to you for the first time as Prime Minister 211 00:18:44,567 --> 00:18:49,163 in a solemn hour for the life of our country and, above all, 212 00:18:49,207 --> 00:18:52,005 of the cause of freedom. 213 00:18:58,007 --> 00:18:59,281 (WHISTLE BLOWS) 214 00:19:08,247 --> 00:19:10,636 Broadcasting was a revolutionary idea - 215 00:19:10,687 --> 00:19:12,837 culture for the people. 216 00:19:14,527 --> 00:19:18,520 The problem was very little was actually known about the people. 217 00:19:18,567 --> 00:19:21,525 Who were they? What did they want? 218 00:19:32,407 --> 00:19:33,726 In 1 937, 219 00:19:33,767 --> 00:19:39,364 an odd combination of a poet, a painter and an anthropologist 220 00:19:39,407 --> 00:19:43,286 came together and agreed that not enough was known 221 00:19:43,327 --> 00:19:46,080 about the real people of Britain. 222 00:19:46,127 --> 00:19:51,201 And they decided to set up what they called a ''science of ourselves''. 223 00:19:51,247 --> 00:19:54,637 The idea was to record in detail 224 00:19:54,687 --> 00:19:57,565 the minutest observations of ordinary life. 225 00:19:57,607 --> 00:19:59,882 What people did, how they talked, 226 00:19:59,927 --> 00:20:03,442 how they drank and ate, and where they went, and all the rest of it. 227 00:20:03,487 --> 00:20:06,923 It was called Mass Observation. 228 00:20:15,127 --> 00:20:19,882 Mass Observation chose for its base the industrial city of Bolton. 229 00:20:21,047 --> 00:20:24,676 They gave it a code name - Worktown. 230 00:20:26,807 --> 00:20:29,605 It stood as an example of the great cities of the North, 231 00:20:29,647 --> 00:20:32,764 which supplied much of the nation's wealth, 232 00:20:32,807 --> 00:20:37,278 but had a long history of being ignored by the South. 233 00:20:41,487 --> 00:20:46,845 The founders of Mass Observation had an absolutely insatiable appetite for facts. 234 00:20:46,887 --> 00:20:50,926 Every day, they sent out teams of volunteers with a question to be answered. 235 00:20:50,967 --> 00:20:55,358 One time, it was how many people in the high street are wearing brown shoes 236 00:20:55,407 --> 00:20:57,318 and how many are wearing black? 237 00:20:57,367 --> 00:21:00,006 And another time, it was how many chips are there 238 00:21:00,047 --> 00:21:02,481 in the average portion of takeaway? 239 00:21:02,527 --> 00:21:06,281 The answer was 25 and one sixth. 240 00:21:06,327 --> 00:21:09,478 You see, nothing was too trivial for them to note it down. 241 00:21:18,287 --> 00:21:21,597 The spies employed by Mass Observation eavesdropped 242 00:21:21,647 --> 00:21:24,684 and recorded what they heard. 243 00:21:24,727 --> 00:21:28,197 They wanted to know what people talked about. 244 00:21:36,847 --> 00:21:42,205 Armed with concealed cameras, photographers took pictures of people 245 00:21:42,247 --> 00:21:46,001 going about their business, unaware they were being watched. 246 00:22:04,407 --> 00:22:10,164 MAN: This is a film about the way people spend their spare time. 247 00:22:10,207 --> 00:22:14,280 DAVID: The pioneering use of documentary film also served the cause, 248 00:22:14,327 --> 00:22:19,321 this one by one of the founders of Mass Observation - Humphrey Jennings. 249 00:22:19,367 --> 00:22:24,805 MAN: Between work and sleep comes the time we call our own. 250 00:22:24,847 --> 00:22:27,122 What do we do with it? 251 00:22:28,407 --> 00:22:30,557 As things are, spare time 252 00:22:30,607 --> 00:22:34,043 is a time when we have a chance to do what we like, 253 00:22:34,087 --> 00:22:37,045 a chance to be most ourselves. 254 00:22:38,847 --> 00:22:41,156 (GENERAL CHATTER) 255 00:22:43,207 --> 00:22:47,485 One of Mass Observation's obsessions was with public houses. 256 00:22:47,527 --> 00:22:52,078 They worked out that more time and more money was spent in pubs 257 00:22:52,127 --> 00:22:55,915 than was spent in churches, dancehalls, meeting places, 258 00:22:55,967 --> 00:22:57,685 politics...all put together. 259 00:22:58,767 --> 00:23:02,476 And they published a book, The Pub And The People, 260 00:23:02,527 --> 00:23:05,519 which analysed the way people behaved in pubs. 261 00:23:07,167 --> 00:23:11,445 They wrote down the statistics of how many people got drunk, 262 00:23:11,487 --> 00:23:15,162 how many people smoked in the pub. 263 00:23:15,207 --> 00:23:17,767 They talked about the way people spat in pubs. 264 00:23:17,807 --> 00:23:21,356 They even talked about people flirting with the barmaids. 265 00:23:21,407 --> 00:23:26,356 It was a complete record of human life as seen through the public bar. 266 00:23:28,447 --> 00:23:29,960 Does this happen in your pub? 267 00:23:30,007 --> 00:23:34,000 ''Man, aged about 4O, says, 'I drink beer, cos I think it does me more good 268 00:23:34,047 --> 00:23:37,676 '''than doctor's medicine. It keeps my bowels in good working order.''' 269 00:23:37,727 --> 00:23:38,921 I'm sure it will! 270 00:23:42,567 --> 00:23:45,001 What can you learn about people from the pubs? 271 00:23:45,047 --> 00:23:47,880 Well, you get plenty of different characters. 272 00:23:47,927 --> 00:23:51,886 How people dress and how people behave and obviously you get your drunks 273 00:23:51,927 --> 00:23:53,997 and you get your sober people, 274 00:23:54,047 --> 00:23:56,720 you get your quiet people sitting in the corner with a crossword. 275 00:23:56,767 --> 00:23:58,803 - Cross section? - You get a cross section in here. 276 00:23:58,847 --> 00:24:01,122 What do you think of somebody coming into the pub 277 00:24:01,167 --> 00:24:04,682 and just listening to your conversation and then publishing it in a book? 278 00:24:04,727 --> 00:24:07,161 - I wouldn't mind, to be honest. - Wouldn't you? 279 00:24:07,207 --> 00:24:10,916 I wish somebody would, cos there's some comical things that go on in here. 280 00:24:16,007 --> 00:24:21,161 Mass Observation's very interesting. It began as a kind of curiosity 281 00:24:21,207 --> 00:24:25,246 of artists wanting to know what other people were like, 282 00:24:25,287 --> 00:24:30,202 an element of sort of slightly nosey curtain-twitching about it. 283 00:24:30,247 --> 00:24:34,365 It ended rather impressively as something that got the attention 284 00:24:34,407 --> 00:24:38,480 of governments and made not just artists but politicians realise 285 00:24:38,527 --> 00:24:40,916 you couldn't just tell people what to do. 286 00:24:40,967 --> 00:24:43,959 You actually had to listen to what they were saying. 287 00:24:44,007 --> 00:24:46,237 (SIREN WAILS) 288 00:24:48,047 --> 00:24:52,916 Halfway through the 2Oth century, progress was once again halted by war. 289 00:24:55,127 --> 00:24:59,678 It lasted from 1 939 to 1 945. 290 00:25:04,287 --> 00:25:06,403 For the first time in 1,ooo years, 291 00:25:06,447 --> 00:25:10,599 British people were under foreign attack in their own homes. 292 00:25:12,207 --> 00:25:17,122 They faced the mass bombing raids called the Blitz. 293 00:25:25,087 --> 00:25:29,763 People were desperate to escape the death raining down on them from the skies. 294 00:25:29,807 --> 00:25:33,004 If you had a back garden, you could build a shelter. 295 00:25:33,047 --> 00:25:35,959 But most people didn't - they lived in blocks of flats. 296 00:25:36,007 --> 00:25:37,963 The government came in with a scheme 297 00:25:38,007 --> 00:25:41,795 to build public shelters in the street which families could go to. 298 00:25:41,847 --> 00:25:44,998 But they were overcrowded, they were unsanitary. 299 00:25:45,047 --> 00:25:47,880 Above all, though, they were unsafe. 300 00:25:47,927 --> 00:25:52,443 They'd been so badly built that some people died while taking shelter in them. 301 00:25:52,487 --> 00:25:57,686 As public anger grew, people decided to take matters into their own hands. 302 00:26:11,767 --> 00:26:15,680 For those who lived in London, the obvious solution 303 00:26:15,727 --> 00:26:19,720 was to take cover in the network of tunnels that made up the Underground. 304 00:26:24,407 --> 00:26:26,523 The government had originally forbidden 305 00:26:26,567 --> 00:26:29,843 the use of the underground as a shelter, but people got round it. 306 00:26:29,887 --> 00:26:33,402 They simply came to the station, bought a ticket, 307 00:26:33,447 --> 00:26:36,644 went down to the platform and refused to leave. 308 00:26:36,687 --> 00:26:39,838 Realising they couldn't win, the government gave way. 309 00:27:07,967 --> 00:27:11,357 At the height of the Blitz, 310 00:27:11,407 --> 00:27:16,481 nearly 2oo,ooo people would cram into tube stations for a night's sleep. 311 00:27:24,487 --> 00:27:27,797 One evening in late 1 94O, at the very height of the Blitz, 312 00:27:27,847 --> 00:27:32,125 the artist Henry Moore got trapped down in the tubes by an air raid. 313 00:27:32,167 --> 00:27:35,842 He spent an hour down here and he was transfixed by what he saw. 314 00:27:35,887 --> 00:27:40,199 He described it later as like seeing a whole city 315 00:27:40,247 --> 00:27:42,158 in the bowels of the Earth. 316 00:27:42,207 --> 00:27:46,598 He said the rows and rows of people reminded him of slaves 317 00:27:46,647 --> 00:27:52,916 being transported from Africa to America, with no control over their own lives. 318 00:27:52,967 --> 00:27:56,960 He was so moved by the sight that time and again 319 00:27:57,007 --> 00:28:01,797 he returned underground and filled books of drawings with what he saw. 320 00:28:08,207 --> 00:28:12,883 Moore's pictures reveal a subterranean world. 321 00:28:14,127 --> 00:28:18,598 Ghostly figures huddled together for comfort. 322 00:28:18,647 --> 00:28:23,516 People sleeping in long lines along the tunnels. 323 00:28:44,647 --> 00:28:48,606 Henry Moore's pictures were put on show at the National Gallery at the time 324 00:28:48,647 --> 00:28:50,444 and they were immensely popular. 325 00:28:50,487 --> 00:28:54,924 They might have shown a kind of dismal scene underground, 326 00:28:54,967 --> 00:28:57,800 but they had a warmth and humanity about them. 327 00:28:57,847 --> 00:29:01,806 And they embodied what people thought of as a kind of Blitz spirit. 328 00:29:01,847 --> 00:29:04,964 They might spend the night here under attack, 329 00:29:05,007 --> 00:29:08,886 but in the morning, they'd rise again and not be defeated. 330 00:29:14,287 --> 00:29:16,926 - Good morning. - Good morning. 331 00:29:16,967 --> 00:29:18,719 - See you tonight. - Rightio. 332 00:29:18,767 --> 00:29:19,756 Come on, Betty. 333 00:29:21,287 --> 00:29:23,278 The wartime mood of shared suffering, 334 00:29:23,327 --> 00:29:28,481 of making do, inspired the radical notion of a ''welfare state'; 335 00:29:28,527 --> 00:29:34,796 where every citizen would be looked after from cradle to grave. 336 00:29:34,847 --> 00:29:39,284 At the very height of the Blitz, the economist William Beveridge 337 00:29:39,327 --> 00:29:43,081 was asked to work out how this might be delivered. 338 00:29:49,007 --> 00:29:53,159 The famous Beveridge Report of 1 942 came up with a whole host of ideas 339 00:29:53,207 --> 00:29:56,404 about how Britain might emerge from the war 340 00:29:56,447 --> 00:29:59,723 into the sunlit uplands of a better society. 341 00:29:59,767 --> 00:30:03,123 Among the many recommendations it made was a key one, 342 00:30:03,167 --> 00:30:06,762 that there should be free medical support for everybody, 343 00:30:06,807 --> 00:30:10,846 one of the jewels in the crown - the National Health Service. 344 00:30:19,247 --> 00:30:21,556 After the war, the dream became a reality. 345 00:30:21,607 --> 00:30:25,919 The National Health Service Act of 1 946 led 346 00:30:25,967 --> 00:30:31,599 to the creation of state-funded hospitals where anyone could be treated. 347 00:30:41,127 --> 00:30:45,405 One artist who was particularly passionate about the NHS was Barbara Hepworth. 348 00:30:45,447 --> 00:30:49,042 It wasn't just because she supported it politically, which she did, 349 00:30:49,087 --> 00:30:50,759 but she was grateful to doctors 350 00:30:50,807 --> 00:30:55,437 who'd operated on her own daughter, who had a dangerous bone disease. 351 00:30:55,487 --> 00:30:59,002 And so, in 1 94 7, when the NHS was being set up, 352 00:30:59,047 --> 00:31:04,280 she sought and was given permission to shadow surgeons at their work. 353 00:31:15,687 --> 00:31:21,080 In just two years, Hepworth produced over 1 oo pictures of operating teams. 354 00:31:25,247 --> 00:31:28,557 She celebrates surgeons and nurses 355 00:31:28,607 --> 00:31:32,122 as though they were saints in an Italian Renaissance painting. 356 00:31:39,607 --> 00:31:43,759 She focuses on the eyes and hands of the surgeons and nurses, 357 00:31:43,807 --> 00:31:47,595 rather than the blood and guts on the operating table. 358 00:31:53,407 --> 00:31:57,844 Barbara Hepworth wrote, ''From the moment I entered the operating theatre, 359 00:31:57,887 --> 00:32:02,517 ''I became completely absorbed by the beauty of purpose 360 00:32:02,567 --> 00:32:06,799 ''and co-ordination between human beings dedicated to the saving of life.'' 361 00:32:06,847 --> 00:32:11,318 And she captured with almost religious intensity 362 00:32:11,367 --> 00:32:15,440 the power and the mystery of healing 363 00:32:15,487 --> 00:32:20,038 and, of course, her thrill at the setting-up of the NHS. 364 00:32:32,167 --> 00:32:34,965 SURGEON: Reserve segments five and eight. 365 00:32:35,007 --> 00:32:36,281 Pick up six and seven. 366 00:32:37,567 --> 00:32:40,365 Can I ask what you're doing or is it not a good moment? 367 00:32:40,407 --> 00:32:42,637 No, it is, you're very welcome to ask. 368 00:32:42,687 --> 00:32:45,281 I'm marking the line of division of the liver now. 369 00:32:45,327 --> 00:32:48,603 - This is where you're going to cut? - Where I'm going to divide the liver. 370 00:32:48,647 --> 00:32:51,719 When Hepworth was doing her studies of surgery, 371 00:32:51,767 --> 00:32:54,201 she talked about the co-ordination, 372 00:32:54,247 --> 00:32:58,604 how beautiful the co-ordination was between the team. 373 00:32:58,647 --> 00:33:01,400 Is that at the heart of it, co-ordination? 374 00:33:01,447 --> 00:33:04,564 Yes, I think it is. It's a team effort. Everyone has a role. 375 00:33:04,607 --> 00:33:06,677 You rely on everybody else to do their bit. 376 00:33:06,727 --> 00:33:08,046 Very much so. 377 00:33:08,087 --> 00:33:11,124 I couldn't do this job without the people I work with. 378 00:33:12,807 --> 00:33:17,039 And is she, to you, just a body or have you met her? 379 00:33:17,087 --> 00:33:20,318 No, no, no, I've seen her and counselled her in great detail 380 00:33:20,367 --> 00:33:22,005 about what we're going to do. 381 00:33:22,047 --> 00:33:25,005 - So you know whose liver this is? - Oh, yes, very much so. 382 00:33:25,047 --> 00:33:28,323 I think the day you start working as a factory worker, 383 00:33:28,367 --> 00:33:32,485 you should go and be a factory worker. It's not that kind of job. 384 00:33:32,527 --> 00:33:35,439 (MONITOR BEEPS) 385 00:33:35,487 --> 00:33:37,876 - I think I'd better leave you to it. - That's OK. 386 00:33:37,927 --> 00:33:40,361 - Thank you very much indeed. - You're very welcome. 387 00:34:01,047 --> 00:34:04,926 By the end of the 1 94Os, a kind of socialist idea of art 388 00:34:04,967 --> 00:34:10,166 was widely accepted, that the artist should be at the service of society. 389 00:34:10,207 --> 00:34:14,325 Then came along a new generation who said that was all claptrap. 390 00:34:14,367 --> 00:34:16,835 They had no intention of serving society - 391 00:34:16,887 --> 00:34:21,199 they wanted to be artists in their own right, doing what they wanted to do. 392 00:34:21,247 --> 00:34:24,637 And their stamping ground was right here, in Soho. 393 00:34:37,967 --> 00:34:42,961 We take self-expression for granted now, but in the '4os and '5os, 394 00:34:43,007 --> 00:34:47,000 Soho was one of the few places where you could be and do what you liked. 395 00:34:47,047 --> 00:34:51,404 Here, there was a mix of cultures and people... 396 00:34:56,007 --> 00:34:58,202 ...continental restaurants... 397 00:35:00,247 --> 00:35:02,442 ...nightclubs, dancing till dawn. 398 00:35:04,127 --> 00:35:06,960 A magnet for free spirits. 399 00:35:08,167 --> 00:35:09,998 Oh, lovely. 400 00:35:10,047 --> 00:35:13,676 No, I'm filming, actually, so I can't come and see your naked ladies. 401 00:35:13,727 --> 00:35:15,319 Very nice offer, all the same. 402 00:35:20,687 --> 00:35:21,836 (RINGS DOORBELL) 403 00:35:40,207 --> 00:35:42,277 There's your Sex on the Beach, David. 404 00:35:42,327 --> 00:35:44,045 Thank you, Trisha. 405 00:35:44,087 --> 00:35:48,365 Drinking clubs were at the very heart of Soho's culture. 406 00:35:48,407 --> 00:35:52,719 Back in the '4Os, the licensing laws meant pubs couldn't stay open in the afternoon, 407 00:35:52,767 --> 00:35:54,200 to stop excessive drinking, 408 00:35:54,247 --> 00:35:58,320 and so a whole host of private drinking clubs opened up - 409 00:35:58,367 --> 00:36:01,803 down a flight of stairs, into a dark room, 410 00:36:01,847 --> 00:36:06,637 and it stayed open all afternoon, a kind of vampire's lair. 411 00:36:06,687 --> 00:36:08,757 And it was in clubs like this 412 00:36:08,807 --> 00:36:13,756 that dissatisfied artists of that generation started to meet. 413 00:36:18,047 --> 00:36:23,075 The king of Soho's drinking clubs was Francis Bacon, 414 00:36:23,127 --> 00:36:25,721 a troubled and rebellious genius 415 00:36:25,767 --> 00:36:31,683 who became recognised as one of the greatest painters of the 2Oth century. 416 00:36:44,807 --> 00:36:47,162 In a warehouse, one of Bacon's works 417 00:36:47,207 --> 00:36:51,962 is waiting to be rehung by the Tate, after returning from a show abroad. 418 00:36:54,167 --> 00:37:00,117 It was first exhibited at the end of the war in 1 945,just as Britain 419 00:37:00,167 --> 00:37:05,002 was discovering the grim reality of Nazi concentration camps. 420 00:37:13,807 --> 00:37:16,958 This is possibly Francis Bacon's greatest work. 421 00:37:17,007 --> 00:37:20,079 It's certainly the work that made his name. 422 00:37:21,847 --> 00:37:27,240 It's called Three Studies For Figures At The Base Of A Crucifixion. 423 00:37:28,527 --> 00:37:30,518 He used the idea of the crucifixion 424 00:37:30,567 --> 00:37:34,719 to talk about man's inhumanity to man, 425 00:37:34,767 --> 00:37:42,447 and these horrendous, repulsive figures show what man is capable of. 426 00:37:44,967 --> 00:37:49,119 You can't at first glance tell what they are, they're so grotesque. 427 00:37:49,167 --> 00:37:53,524 Here's a strange figure with hair over its face, I suppose, 428 00:37:53,567 --> 00:37:56,877 and a bit of nose there, on a sort of platform. 429 00:37:58,447 --> 00:38:04,761 And here, these teeth bared out at you and the blindfold, 430 00:38:04,807 --> 00:38:08,720 so whatever this creature is, it can't see what it's pursuing, 431 00:38:08,767 --> 00:38:11,076 but just baring its teeth. 432 00:38:11,127 --> 00:38:17,077 And here, one letting out a terrible, almost primeval scream or yowl. 433 00:38:20,287 --> 00:38:22,926 Bacon was obsessed with the mouth. 434 00:38:22,967 --> 00:38:27,324 He wanted to paint mouths, he said once, like Monet painted sunsets. 435 00:38:33,967 --> 00:38:37,277 All art reflects in some way or other the world as it is, 436 00:38:37,327 --> 00:38:42,196 it doesn't just come from nowhere, and these paintings by Bacon do reflect 437 00:38:42,247 --> 00:38:45,398 a particular attitude to the world, 438 00:38:45,447 --> 00:38:47,881 a kind of mixture of despair 439 00:38:47,927 --> 00:38:53,559 at the horror of what man does to man, a fear about the future. 440 00:38:53,607 --> 00:38:57,759 And it chimes not just with the mood after the Second World War, 441 00:38:57,807 --> 00:39:02,244 but of course with our mood today, when we look at the world as it is. 442 00:39:02,287 --> 00:39:08,044 And that's why Bacon still has a hold over our imagination. 443 00:39:18,807 --> 00:39:21,685 With his horrific but exciting work, 444 00:39:21,727 --> 00:39:25,197 Bacon was an artist ahead of his time. 445 00:39:28,767 --> 00:39:31,964 For the most part, though, the '5os were a dull, 446 00:39:32,007 --> 00:39:34,316 stick-in-the-mud decade, 447 00:39:34,367 --> 00:39:37,916 where to be young was already to be middle-aged, 448 00:39:37,967 --> 00:39:40,276 and I was no exception. 449 00:39:40,327 --> 00:39:43,797 ( # The Dashing White Sergeant) 450 00:39:43,847 --> 00:39:46,486 I was a teenager in the 1 95Os, 451 00:39:46,527 --> 00:39:49,360 and in a way it was rather a dreary time to be growing up. 452 00:39:49,407 --> 00:39:53,685 Britain was rather impoverished after the war, still posing as a great power, 453 00:39:53,727 --> 00:39:58,642 and the result was a kind of conformity, a staid way of living. 454 00:39:58,687 --> 00:40:01,565 You were expected to toe the line. 455 00:40:01,607 --> 00:40:05,282 It couldn't last, of course, because as the economy picked up, 456 00:40:05,327 --> 00:40:07,443 the young rebelled. 457 00:40:07,487 --> 00:40:09,364 They had more money in their pockets 458 00:40:09,407 --> 00:40:12,843 and they used it in an explosion of energy. 459 00:40:12,887 --> 00:40:15,196 ( # LULU: Shout) 460 00:40:15,247 --> 00:40:18,603 # We-e-e-e-e-ell... 461 00:40:18,647 --> 00:40:21,036 # You know you make me wanna shout 462 00:40:21,087 --> 00:40:22,076 #Look, my hand's jumping 463 00:40:22,127 --> 00:40:23,879 #Shout Look, my heart's pumping 464 00:40:23,927 --> 00:40:25,724 #Shout Throw my head back 465 00:40:25,767 --> 00:40:27,200 #Shout Come on now... # 466 00:40:27,247 --> 00:40:30,364 The result was the so-called Swinging Sixties, 467 00:40:30,407 --> 00:40:35,435 a social revolution led by the young that touched every walk of life. 468 00:40:37,207 --> 00:40:40,802 At the heart of it was a craving to cut free from the past. 469 00:40:42,647 --> 00:40:44,603 It would change fashion... 470 00:40:46,567 --> 00:40:48,080 ...and design... 471 00:40:49,887 --> 00:40:54,119 ...a popular culture which gave its name to a new style of art. 472 00:40:56,847 --> 00:40:58,997 Artists like David Hockney 473 00:40:59,047 --> 00:41:02,244 sought to reflect the values of the world around them, 474 00:41:02,287 --> 00:41:05,245 however shallow they might seem. 475 00:41:05,287 --> 00:41:06,925 #Shout! All right! 476 00:41:06,967 --> 00:41:08,958 #Shout! All right! 477 00:41:09,007 --> 00:41:10,679 #Shout! All right! 478 00:41:10,727 --> 00:41:14,686 #Shout! Well, I feel all-ll right! # 479 00:41:14,727 --> 00:41:16,479 And things could only get weirder. 480 00:41:21,167 --> 00:41:22,202 (GLASS SMASHES) 481 00:41:23,287 --> 00:41:24,800 We have no taste. 482 00:41:24,847 --> 00:41:26,678 We are artists. 483 00:41:26,727 --> 00:41:28,524 For 4o years, 484 00:41:28,567 --> 00:41:32,640 Gilbert and George have described themselves as ''living sculpture'; 485 00:41:32,687 --> 00:41:36,362 insisting they themselves are works of art. 486 00:41:38,967 --> 00:41:43,165 In their pictures, they relish confronting taboos. 487 00:41:46,007 --> 00:41:47,804 Ah...! 488 00:41:47,847 --> 00:41:52,682 With their resolutely conventional dress but outlandish behaviour, 489 00:41:52,727 --> 00:41:56,037 they look like two bank clerks in the grip of a nervous breakdown. 490 00:41:59,007 --> 00:42:04,081 #Bend it, bend it,just a little bit 491 00:42:04,127 --> 00:42:08,643 #And take it easy, show you like it... # 492 00:42:11,007 --> 00:42:13,396 (KEYS RATTLE IN LOCK) 493 00:42:16,767 --> 00:42:17,916 Good afternoon. 494 00:42:17,967 --> 00:42:18,956 Good afternoon. 495 00:42:19,007 --> 00:42:20,486 How do you do? 496 00:42:20,527 --> 00:42:24,315 - This is a very exciting moment for me... - It's thrilling that you're here. 497 00:42:24,367 --> 00:42:26,358 ...to meet living sculpture. 498 00:42:26,407 --> 00:42:29,240 - It's wonderful. Come through, please. - Thank you. 499 00:42:39,927 --> 00:42:45,638 Do you see your work in the same tradition as artists, painters, 500 00:42:45,687 --> 00:42:47,405 sculptors of the 1 9th century? 501 00:42:47,447 --> 00:42:50,484 In the visual tradition, visual art, yes. 502 00:42:50,527 --> 00:42:53,439 It's figuration, it's pictures. 503 00:42:53,487 --> 00:42:56,559 For years and years, the artists were the slaves of the Church 504 00:42:56,607 --> 00:42:57,642 and then of the toffs, 505 00:42:57,687 --> 00:43:00,440 and then suddenly artists would go into their studio 506 00:43:00,487 --> 00:43:04,275 and say, ''What do I want to say to the world today?'' And we're part of that. 507 00:43:04,327 --> 00:43:05,601 Who do you work for? 508 00:43:05,647 --> 00:43:08,366 We believe an artist should be working as a service, 509 00:43:08,407 --> 00:43:12,958 providing thoughts and feelings for anyone, wherever they lived in the world. 510 00:43:13,007 --> 00:43:15,760 We want to confront ordinary people with our work, 511 00:43:15,807 --> 00:43:17,957 to say yes or no, and that's why 512 00:43:18,007 --> 00:43:21,556 we are doing all this very big... what are called museum shows 513 00:43:21,607 --> 00:43:25,077 that are totally confrontational. 514 00:43:25,127 --> 00:43:27,436 We do believe that we're dealing with all of the basic elements 515 00:43:27,487 --> 00:43:29,717 that lie inside everybody, wherever they live, 516 00:43:29,767 --> 00:43:32,327 - whatever their educational background. - What kind of elements? 517 00:43:32,367 --> 00:43:37,487 BOTH: Death, hope, life, fear, sex, money, race, religion. 518 00:43:37,527 --> 00:43:39,245 That's all we deal with. 519 00:43:39,287 --> 00:43:42,677 Beautifully said in unison, because you've thought this out. 520 00:43:42,727 --> 00:43:45,639 - No, we know it, because it's what we do. - That's what we always do. 521 00:44:02,367 --> 00:44:05,962 Are people very shocked by your works, still? 522 00:44:06,007 --> 00:44:07,759 Because a lot of it is quite shocking. 523 00:44:07,807 --> 00:44:11,595 But you look...as if butter wouldn't melt in your mouth, so sweet... 524 00:44:11,647 --> 00:44:13,239 You're right about that. 525 00:44:13,287 --> 00:44:18,281 ...so elegantly dressed, so polite, and yet you do pictures of people defecating, 526 00:44:18,327 --> 00:44:22,002 of yourselves defecating, of things that many people would think 527 00:44:22,047 --> 00:44:24,641 were disgusting and quite against your nature. 528 00:44:24,687 --> 00:44:27,724 It's very human. That's it. That's why we want to use it. 529 00:44:27,767 --> 00:44:31,362 We want to make it more de-shocking and making it normal. 530 00:44:31,407 --> 00:44:36,925 We had a lovely letter from a lady last week saying that she was 82 years of age, 531 00:44:36,967 --> 00:44:40,403 she admired our work and she particularly wanted to congratulate us 532 00:44:40,447 --> 00:44:43,007 on her favourite pictures, The Naked Shit Pictures, 533 00:44:43,047 --> 00:44:45,959 ''Because they make me sit up and think more openly,'' she said. 534 00:44:46,007 --> 00:44:47,520 - Isn't that extraordinary? - It is extraordinary. 535 00:44:47,567 --> 00:44:51,480 Wonderful. ''Think more openly'' - that's the whole secret to the whole thing, 536 00:44:51,527 --> 00:44:52,880 that people can be more open. 537 00:44:52,927 --> 00:44:55,680 DAVID: So people come to terms with what they are, you mean, 538 00:44:55,727 --> 00:44:59,163 so people accept that anything they do or think or feel is normal, 539 00:44:59,207 --> 00:45:00,959 because it's what they are like. 540 00:45:02,927 --> 00:45:07,125 Just before we go, can I become part of living sculpture 541 00:45:07,167 --> 00:45:10,477 with your famous dance? Would that be possible? 542 00:45:10,527 --> 00:45:12,995 - You may try, of course. - Only if you want to. 543 00:45:13,047 --> 00:45:15,003 - I want to! - In that case, you must. 544 00:45:15,047 --> 00:45:16,036 Show me what to do. 545 00:45:16,087 --> 00:45:22,322 #Bend it, bend it,just a little bit And take it easy... # 546 00:45:22,367 --> 00:45:24,358 Am I doing it all right? 547 00:45:24,407 --> 00:45:25,806 Very good. Very good. 548 00:45:25,847 --> 00:45:28,441 I don't remember how to do it, but I do it! 549 00:45:30,087 --> 00:45:33,716 ( # DAVE DEE, DOzY, BEAKY, MICK & TICH: Bend It!) 550 00:45:33,767 --> 00:45:34,995 Very haphazard! 551 00:45:36,047 --> 00:45:37,844 You can make it up as you go along. 552 00:45:41,687 --> 00:45:42,961 - That's it. - Good. 553 00:45:43,007 --> 00:45:44,759 Thank you very much. 554 00:45:48,567 --> 00:45:53,357 Where beauty and craftsmanship were what counted to artists in the past, 555 00:45:53,407 --> 00:45:55,443 shock and outrage 556 00:45:55,487 --> 00:45:58,479 seem to be as important to the ambitious artist of today. 557 00:45:58,527 --> 00:46:01,803 Hello. It's David Dimbleby. I've come to see Tracey Emin. 558 00:46:01,847 --> 00:46:03,997 - (DOOR ENTRY SYSTEM BUzzES) - Thank you. 559 00:46:08,367 --> 00:46:12,645 Tracey Emin is famous for the way her work confronts sex. 560 00:46:22,687 --> 00:46:24,917 Most notorious was her tent 561 00:46:24,967 --> 00:46:30,360 with the names of every person she'd slept with sewn on the inside... 562 00:46:31,647 --> 00:46:35,799 ...and her unmade bed, with its deliberate portrayal 563 00:46:35,847 --> 00:46:37,803 of a dissolute life. 564 00:46:42,687 --> 00:46:47,886 Do you think, 5O years ago, you'd have been as successful as you are today? 565 00:46:47,927 --> 00:46:49,246 No. 566 00:46:50,287 --> 00:46:51,481 Because...? 567 00:46:51,527 --> 00:46:54,724 Because 5O years ago, 568 00:46:54,767 --> 00:46:58,442 the education system was radically different from what it is now, 569 00:46:58,487 --> 00:47:00,125 I mean, from when I was at school. 570 00:47:00,167 --> 00:47:02,601 Number one, there wasn't so much equal rights. 571 00:47:02,647 --> 00:47:05,559 Obviously, there was no equal rights for women around that time. 572 00:47:05,607 --> 00:47:08,041 Was it something about attitudes to women 573 00:47:08,087 --> 00:47:11,238 that changed or that have changed in your lifetime? 574 00:47:11,287 --> 00:47:13,437 What actually changed is that in the '7Os, 575 00:47:13,487 --> 00:47:16,718 there were a group of women called feminists that worked really hard 576 00:47:16,767 --> 00:47:20,203 for women like me to be legacies... as we could then do what we wanted. 577 00:47:20,247 --> 00:47:23,125 And there was these women 578 00:47:23,167 --> 00:47:26,955 that were just really pissed off with the situation that decided 579 00:47:27,007 --> 00:47:31,842 to drive a great big stake into the heart of art and change things. 580 00:47:31,887 --> 00:47:36,563 DAVID: So your idea is that men have a different approach to art 581 00:47:36,607 --> 00:47:39,280 and, I suppose, a different approach to life from women? 582 00:47:39,327 --> 00:47:41,397 Yes. They have a different approach towards sex, as well, 583 00:47:41,447 --> 00:47:43,005 so it's a kind of primal thing. 584 00:47:43,047 --> 00:47:44,560 Women, they want more. 585 00:47:44,607 --> 00:47:46,677 Women will want to keep coming 586 00:47:46,727 --> 00:47:51,676 and keep coming and keep coming, and that's what a female artist is like. 587 00:47:51,727 --> 00:47:54,036 You know, she's not happy with the one big... 588 00:47:54,087 --> 00:47:56,362 Like me, I made my tent, I made my bed. 589 00:47:56,407 --> 00:47:58,204 I'm quite happy 590 00:47:58,247 --> 00:48:01,523 with all the little ones in-between, and it kind of keeps me going. 591 00:48:01,567 --> 00:48:05,401 I'm quite happy to diversify with my life and with my art. 592 00:48:05,447 --> 00:48:09,281 I'm not always looking for the big kill, you know, the big come. 593 00:48:16,807 --> 00:48:19,321 But I tell you what, I should turn the lights out, as well. 594 00:48:19,367 --> 00:48:21,244 I'll turn the lights out. 595 00:48:21,287 --> 00:48:22,356 That's it. 596 00:48:22,407 --> 00:48:24,443 - When did you make this? - Oh, this summer. 597 00:48:24,487 --> 00:48:29,925 Emin's latest work continues to provoke a shocked reaction. 598 00:48:32,127 --> 00:48:34,641 It's a woman masturbating. 599 00:48:34,687 --> 00:48:36,484 So it seems. 600 00:48:37,687 --> 00:48:39,678 DAVID: But rather ferociously. 601 00:48:39,727 --> 00:48:42,560 The reason why she's doing it so fast and so ferociously 602 00:48:42,607 --> 00:48:44,916 is because the animation is actually quite crude, 603 00:48:44,967 --> 00:48:49,085 and I wanted it to be super-crude, because I want you to be able to see each drawing. 604 00:48:49,127 --> 00:48:51,357 Or not each drawing, it just moves fast. 605 00:48:51,407 --> 00:48:54,479 And I'd made two different kind of versions of it, 606 00:48:54,527 --> 00:48:55,926 filmed it in different ways, 607 00:48:55,967 --> 00:49:00,563 one that was much more smoother, and it actually didn't look how I wanted it to. 608 00:49:00,607 --> 00:49:03,201 I liked the crudeness of it, I liked the jerky...cos it jerks, 609 00:49:03,247 --> 00:49:05,317 which then, for me, makes it more mesmerising, 610 00:49:05,367 --> 00:49:07,198 like a kind of spider thing. 611 00:49:07,247 --> 00:49:10,478 You kind of forget the image that you're actually looking at. 612 00:49:10,527 --> 00:49:13,246 Because if you did it slower, it'd be pornographic, 613 00:49:13,287 --> 00:49:16,245 wouldn't it? Whereas this is a series of fierce... 614 00:49:16,287 --> 00:49:17,606 - Yeah. - ...images. 615 00:49:17,647 --> 00:49:22,198 It reminds me of those drawings you used to do as a child on the corner of a book, 616 00:49:22,247 --> 00:49:26,638 you know, where you did lots of drawings and then you riffled through the pages. 617 00:49:26,687 --> 00:49:28,757 Yeah, like a flick book. 618 00:49:28,807 --> 00:49:31,640 Yes, like a flick book. But I don't think we drew this kind of thing. 619 00:49:31,687 --> 00:49:36,203 We drew people jumping over hurdles, which maybe is much the same! 620 00:49:42,167 --> 00:49:47,480 Many people find modern art too obscure, too exclusive, 621 00:49:47,527 --> 00:49:49,722 to be worth bothering with. 622 00:49:49,767 --> 00:49:54,204 One artist who has managed to be distinctly modern 623 00:49:54,247 --> 00:49:58,035 but to produce works that attract a wide audience is Anish Kapoor. 624 00:50:02,807 --> 00:50:04,126 - Hello. - Nice to see you. 625 00:50:04,167 --> 00:50:06,556 - Good to see you. - I've watched people 626 00:50:06,607 --> 00:50:08,165 going round this exhibition 627 00:50:08,207 --> 00:50:11,165 - with smiles on their faces... - That's always good. 628 00:50:11,207 --> 00:50:13,596 - ...and a look of astonishment. - That's even better! 629 00:50:19,207 --> 00:50:25,157 Anish Kapoor's recent show was one of his most ambitious and most popular. 630 00:50:28,127 --> 00:50:31,961 His work bombards us with size, 631 00:50:32,007 --> 00:50:34,282 colour 632 00:50:34,327 --> 00:50:36,204 and optical illusion. 633 00:50:46,767 --> 00:50:53,081 This is an astonishing room. Can't make out these shapes. 634 00:50:53,127 --> 00:50:55,960 ANISH: Well, they're made by a machine - 635 00:50:56,007 --> 00:50:59,761 a highly sophisticated, computerised machine - 636 00:50:59,807 --> 00:51:02,640 that oozes this cement paste. 637 00:51:02,687 --> 00:51:06,157 - DAVID: They look like piles of turds. - ANISH: Indeed they do! 638 00:51:06,207 --> 00:51:08,880 Well, that's this part of that process, 639 00:51:08,927 --> 00:51:11,999 and there's a different way of using it and a different way over there and so on. 640 00:51:12,047 --> 00:51:13,844 - Worms and... - Exactly. 641 00:51:13,887 --> 00:51:16,720 So it's as if they could have been made by an animal. 642 00:51:28,287 --> 00:51:31,996 This is astonishing. So this goes up and down all day long. 643 00:51:32,047 --> 00:51:33,082 Yup. Yup. 644 00:51:33,127 --> 00:51:38,963 What I did was cast a block of wax that's bigger than the doors. 645 00:51:39,007 --> 00:51:40,963 There's about 4O tonnes of wax there. 646 00:51:41,007 --> 00:51:44,682 And of course, in there is a motor, an engine, 647 00:51:44,727 --> 00:51:50,324 that drives the whole wagon through the doorways very, very slowly. 648 00:51:50,367 --> 00:51:56,283 And as it does so, it sort of skims itself, it sorts of flays itself 649 00:51:56,327 --> 00:51:58,443 and pushes itself through the building. 650 00:51:58,487 --> 00:52:02,844 Now, the idea is that that's one way to make sculpture, 651 00:52:02,887 --> 00:52:04,923 is to push something through something else. 652 00:52:07,527 --> 00:52:09,597 DAVID: But the curious thing is, 653 00:52:09,647 --> 00:52:11,877 as an artist, you couldn't sell this, could you? 654 00:52:11,927 --> 00:52:15,124 I mean, nobody can buy this and put it in their house. 655 00:52:15,167 --> 00:52:18,204 You make it for public display and...poof! 656 00:52:18,247 --> 00:52:22,718 Yeah, but not everything has value because of its economic value, 657 00:52:22,767 --> 00:52:27,204 especially in an art world or in a world - never mind the art world - 658 00:52:27,247 --> 00:52:32,719 which measures all things by economic value. 659 00:52:32,767 --> 00:52:35,235 I think it's rather good that there are things 660 00:52:35,287 --> 00:52:38,563 that step outside that and might have other values. 661 00:52:38,607 --> 00:52:40,677 Yes. Yes. 662 00:52:44,927 --> 00:52:48,522 The highlight of the exhibition was a great cannon 663 00:52:48,567 --> 00:52:53,482 that fired cylinders of red wax against the gallery wall. 664 00:52:58,487 --> 00:53:01,718 Woah! God! That was a good one. 665 00:53:01,767 --> 00:53:03,758 That was a very good one. 666 00:53:03,807 --> 00:53:08,358 It's loathsome, the way it slides down the wall. 667 00:53:08,407 --> 00:53:14,562 Yeah. So it's, again, a kind of horrible, fleshy skinning. 668 00:53:14,607 --> 00:53:18,361 What gave you the idea for this? Nightmares in your head? 669 00:53:18,407 --> 00:53:20,557 ANISH: It's a terrible nightmare, isn't it? 670 00:53:20,607 --> 00:53:22,438 DAVID: Blood and guts and gore and... 671 00:53:22,487 --> 00:53:23,522 ANISH: Indeed. Indeed. 672 00:53:23,567 --> 00:53:26,798 DAVID: ...placenta and anything you care to say, really. 673 00:53:26,847 --> 00:53:29,520 ANISH: Exactly. Sometimes one makes works 674 00:53:29,567 --> 00:53:32,161 that take you to places that you don't expect to go, 675 00:53:32,207 --> 00:53:36,086 and I think one has to have the courage to go there fully and truly. 676 00:53:49,407 --> 00:53:54,527 I began this series looking at what art tells us about ourselves 677 00:53:54,567 --> 00:53:57,479 and our past. 678 00:53:57,527 --> 00:54:02,840 Today's art, like our modern world, can be confusing and troubling. 679 00:54:05,487 --> 00:54:10,607 But one thing's clear - the prize for a successful artist 680 00:54:10,647 --> 00:54:12,126 has never been greater. 681 00:54:18,167 --> 00:54:20,237 - Hello! - Hello! 682 00:54:20,287 --> 00:54:22,482 - Very nice to meet you. - Good to meet you. 683 00:54:24,207 --> 00:54:27,244 - This is a fantastic space. - It's big. 684 00:54:27,287 --> 00:54:29,164 What are you working on? Is this stuff you've just done? 685 00:54:29,207 --> 00:54:31,675 I thought I might do a cabinet of flies, 686 00:54:31,727 --> 00:54:35,402 because there's that great joke of the way the guy walks into the pet shop 687 00:54:35,447 --> 00:54:38,439 and says, ''Can I buy a fly?'' And he says, ''We don't sell flies. 688 00:54:38,487 --> 00:54:42,196 ''This is a pet shop.'' He says, ''Well, you've got one in the window.'' 689 00:54:50,887 --> 00:54:55,642 Damien Hirst's success lies in using entertainment and humour 690 00:54:55,687 --> 00:54:58,918 to set against the inevitability of death. 691 00:55:03,327 --> 00:55:05,443 In 2oo7, 692 00:55:05,487 --> 00:55:11,357 he reportedly sold a skull studded with diamonds for £5o million, 693 00:55:11,407 --> 00:55:13,398 which would make it the most expensive 694 00:55:13,447 --> 00:55:15,165 work of art by a living artist. 695 00:55:16,927 --> 00:55:19,964 Things like that were made by kings and emperors, you know? 696 00:55:20,007 --> 00:55:22,077 It's nice to think that an artist can do that in the world 697 00:55:22,127 --> 00:55:24,516 we live in today, and I think that'll be... 698 00:55:24,567 --> 00:55:27,843 if nothing else, that'll seem important. 699 00:55:27,887 --> 00:55:29,525 Did you pay for all the diamonds, then? 700 00:55:29,567 --> 00:55:30,602 Yeah, yeah. 701 00:55:30,647 --> 00:55:33,878 I mean, we lived in a really good time over the last ten years, you know, 702 00:55:33,927 --> 00:55:34,996 we were making so much money. 703 00:55:35,047 --> 00:55:37,356 As an artist, you always make work from what's around you, 704 00:55:37,407 --> 00:55:40,080 and money was around me. And then I thought, well, what could I do 705 00:55:40,127 --> 00:55:42,436 while this money is here that I wouldn't be able to do...? 706 00:55:42,487 --> 00:55:45,320 It's like you think, ''I could do something really amazing.'' 707 00:55:45,367 --> 00:55:48,677 DAVID: How much did you spend on the diamonds before you finished? 708 00:55:48,727 --> 00:55:51,799 DAMIEN: It was about 1 2 million in the end. 709 00:55:51,847 --> 00:55:54,315 But there was a lot of fluctuating prices as we went, 710 00:55:54,367 --> 00:55:57,086 and the big one in the middle was three or four. 711 00:56:04,327 --> 00:56:05,806 So what's this? 712 00:56:05,847 --> 00:56:08,680 Spin machine. Spin art. 713 00:56:08,727 --> 00:56:11,878 Yeah. When I was at school, we had summer fetes 714 00:56:11,927 --> 00:56:13,406 where you used to be able to go in 715 00:56:13,447 --> 00:56:16,041 and pay, like, 2Op, 5Op or something, and make a spin...painting. 716 00:56:16,087 --> 00:56:18,885 - Do you want to make one? - I'd love to. 717 00:56:18,927 --> 00:56:20,804 Come on, then. 718 00:56:23,047 --> 00:56:26,005 So, what do you want? I like the skull. 719 00:56:26,047 --> 00:56:27,526 The skull's good. 720 00:56:27,567 --> 00:56:32,004 So...first of all, we have to pin it on. 721 00:56:33,447 --> 00:56:34,482 How does it go? It just goes all over? 722 00:56:34,527 --> 00:56:37,564 We're just going to spin it, and just have no fear - 723 00:56:37,607 --> 00:56:39,086 the machine does the work. 724 00:56:41,487 --> 00:56:44,877 Is this a Damien Hirst or is it a David Dimbleby? 725 00:56:44,927 --> 00:56:47,646 How much do I have to pay you to sign it? 726 00:56:47,687 --> 00:56:50,679 If it's good, I take the credit. If it's crap, you get the blame. 727 00:56:50,727 --> 00:56:52,957 Do you want to try a butterfly? 728 00:56:56,247 --> 00:56:58,442 I want it yellow with black spots. 729 00:56:58,487 --> 00:57:00,000 Jeez! 730 00:57:00,047 --> 00:57:02,402 - OK, stop. - Is that OK? 731 00:57:04,167 --> 00:57:05,964 I'm meant to be doing this, not you. 732 00:57:06,007 --> 00:57:08,805 I'm sorry! I just can't help it - it's like a disease! 733 00:57:08,847 --> 00:57:10,883 - So if I put black there... - Yeah. 734 00:57:10,927 --> 00:57:12,758 Yeah, that's what I'll do. 735 00:57:13,927 --> 00:57:16,395 Cool, I like that! 736 00:57:16,447 --> 00:57:18,085 OK, now spin it. 737 00:57:18,127 --> 00:57:19,879 (WHIRRING) 738 00:57:21,807 --> 00:57:23,559 Not too much. 739 00:57:23,607 --> 00:57:25,359 - Ah! - One black wing, one yellow wing. 740 00:57:25,407 --> 00:57:26,886 That's what I wanted. 741 00:57:26,927 --> 00:57:29,441 - Then put some more yellow on here. - OK. 742 00:57:29,487 --> 00:57:33,116 OK, spin it again. That's got to work. 743 00:57:34,847 --> 00:57:36,041 OK, stop. 744 00:57:37,527 --> 00:57:40,087 - What do you think of that? - It's destroyed it! 745 00:57:40,127 --> 00:57:42,357 - Oh, it's come off the side! - You've ruined it! 746 00:57:42,407 --> 00:57:44,079 DAMIEN: ''You've ruined it!'' I love that! 747 00:57:44,127 --> 00:57:46,960 That's what my kids say. They won't let me touch 'em. 748 00:57:49,367 --> 00:57:51,039 Lovely. 749 00:57:52,127 --> 00:57:54,197 What are they worth? 750 00:57:54,247 --> 00:57:56,556 You've got to put them on eBay to find out. 751 00:57:56,607 --> 00:58:00,236 And what do they say about modern Britain? 752 00:58:00,287 --> 00:58:03,962 They say we're here for a good time, not a long time. 753 00:58:06,007 --> 00:58:07,918 They certainly had a good time.