Art

It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker.

Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century.

Series concludes with the focus shifting to the United States in the post-war years of the 1950s and beyond. Beginning with arguably the most notorious work of 20th century classical music, John Cage's 'silent' composition 4'33", it looks at how a series of maverick Americans re-invented the sound of classical music into a more simple form, bringing back harmonies and rhythms that made it increasingly popular with audiences across the world. It also examines how this music found its way into a spiritual realm, with the strain of pared-down religious composition that came to be known as 'holy minimalism'. From the Maverick concert hall in Woodstock, New York to an Orthodox cathedral in Estonia to a car park in Peckham, south London, the story is told by a stellar line-up of contributors including Philip Glass, Steve Reich, John Adams, Arvo Pärt and John Tavener.

Many movies lend themselves to dramatic interpretations, but none are as rich and far ranging as Stanley Kubrick's The Shining. In LA filmmaker Rodney Ascher's ROOM 237, we hear from people who have developed far-reaching theories and believe they have decoded the hidden symbols and messages buried in the late director's film. Carefully examining The Shining inside out, and forwards and backwards, and backwards and forwards, ROOM 237 as captivating, provocative as it is pure pleasure". It gives voice to the fans and scholars who espouse these theories, reworking the film to match their ideas and intercutting it with layers of dreamlike imagery to illustrate their streams of consciousness. Sometimes outrageous, always engaging, the words of those who were interviewed are given full force by Ascher's compelling vision. Also featured at the 2012 Sundance, Cannes and Toronto film festivals.

Corey Feldman (star of Friday the 13th: The Final Chapter) narrates Crystal Lake Memories, which features interviews with approximately 150 cast and crew members from all twelve Friday the 13th films and the syndicated television series, many of whom have never before appeared in on-camera interviews. Interview subjects include Kane Hodder, Robert Englund, Tom Savini, Danielle Panabaker, Sean S. Cunningham, Derek Mears, Betsy Palmer, Wes Craven, Robert Shaye, Alice Cooper and many more

'Flexing' is a dance style forged in far east Brooklyn, at the dead-end of a handful of subway lines. Flex dancers channel the grittiness and crime of East New York into choreographed violence with gun movements, simulated bone-breaking, and the mimicked ripping of hearts from opponent's chests. Through battles dancers gain respect, craft an artistic identity, and sometimes find a sanctuary from the poverty and violence that saturates their neighborhood. No other style of street-dance is this violent, scary, or beautifully theatrical. In this purely do-it-yourself scene, creativity and ambition bring a community together around frequent dance-battle showcases that have begun to attract an international audience and may catapult the best dancers into careers in theater or film. Following a group of dancers for over two years, Flex is Kings explores the hopes and realities of this under-acknowledged and totally unfunded group of urban artists