THE CHARLES W. MORGAN tells the extraordinary story of America's last wooden whale ship and the incredible saga of the first global industry dominated by the United States. From her humble beginnings in New Bedford, Massachusetts in the year 1841, the Morgan sailed 37 world…
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Photo sequence of the rare transit of Venus over the face of the Sun, one of the first chronophotographic sequences. In 1873, P.J.C. Janssen, or Pierre Jules César Janssen, invented the Photographic Revolver, which captured a series of images in a row. The device, automatic, produced images in a row without human intervention, being used to serve as photographic evidence of the passage of Venus before the Sun, in 1874.

This is a fictional love story with the 1856 Handcart Pioneers as the backdrop. Sam Hunter, falls for a Mormon Pioneer woman, Abigail, as she is moving west. As the pioneers stop in his town of Iowa City, he pretends to desire joining the Mormon Church to show his love for Abigail. As hardships prevail, his faith is tested on their way to Zion.

In 1899, a photographer at American Mutoscope & Biograph mounted his camera on the front of a trolley traveling over the Brooklyn Bridge. The three 90-foot rolls he created were edited together to complete the journey from Manhattan to Brooklyn, entitled Across the Brooklyn Bridge. As a commission by the Museum of Modern Art for the re-opening of their facility, American avant-garde filmmaker Bill Morrison took this remarkable footage and recombined it with itself to form a new split-screen extrapolation.

In 1871, a journalist for Versailles Television broadcasts a soothing and official view of events while a Commune television is set up to provide the perspectives of the Paris rebels. On a stage-like set, more than 200 actors interpret denizens of the Commune, especially the Popincourt neighborhood in the XIth arrondissement. They voice thoughts and feelings concerning the social and political reforms.

Mark Gatiss explores the life and career of Aubrey Beardsley, an artist who wielded outrage as adroitly as his pen. A lifelong fan, Mark shows how Beardsley was more than just a genius of self-promotion who scandalised the art world of the 1890s. He was also a technological innovator, whose uncompromising attitude still feels remarkably modern.