prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film has the director died first, Our Agent Tiger or London Melody?

The following are given passages.
Context 1: Passage 1:
Our Agent Tiger
Le tigre se parfume à la dynamite (Our Agent Tiger) is a 1965 secret agent spy film directed by Claude Chabrol and starring and written by Roger Hanin as the Tiger  It is a sequel to the 1964 film Le Tigre aime la chair fraiche 

Plot
The Tiger is sent to oversee the excavation of a sunken ship  While busy retrieving the gold treasure inside the vessel, The Tiger is constantly thwarted by international enemies  Among them is an old Nazi named Hans von Wunchendorf who dreams of world domination  He hides behind the codename "The Orchid" and needs the treasure to sustain a worldwide network of exiled former comrades  Once sanified by the gold his organisation plans to realise the endsieg after all 

Cast
Roger Hanin as Louis Rapière, "le Tigre"
Margaret Lee as Pamela Mitchum / Patricia Johnson
Michel Bouquet as Jacques Vermorel
Micaela Pignatelli as Sarita Sanchez
Carlos Casaravilla as Ricardo Sanchez
José Nieto as Pepe Nieto
José María Caffarel as Colonel Pontarlier
George Rigaud as Commander Damerec

Bibliography
Blake, Matt; Deal, David (2004)  The Eurospy Guide  Baltimore: Luminary Press  ISBN 1-887664-52-1 
Passage 2:
Le Tigre aime la chair fraiche
Le Tigre aime la chair fraîche ("The Tiger loves fresh meat"), English title Code Name: Tiger, is a 1964 French Eurospy film directed by Claude Chabrol and starring Roger Hanin as the spy Louis Rapière, code named "The Tiger"  The screenplay was written by Chabrol and Hanin  It was an attempt to create a French franchise equal to James Bond, and its female lead, Daniela Bianchi, had the previous year appeared in the James Bond film From Russia with Love  The film had a sequel in 1965, Le tigre se parfume à la dynamite (Our Agent Tiger) 

Plot
The French government plans an international arms deal with the help of a Turkish diplomate named Baskine  But a group of terrorists menaces the diplomat  When the government receives intelligence concerning a looming attempt on Baskine's life, they assign Louis Rapière a k a  "The Tiger" to guard Baskine and his family  Rapière immediately proves this decision right by scarcely foiling an assassination  Unfortunately more than one group is after Baskine  They are closing in on Baskine independently from each other 

Cast
Roger Hanin as Louis Rapière a k a  'le Tigre'
Maria Mauban as Madame Baskine
Daniela Bianchi as Mehlica Baskine
Roger Dumas as Duvet
Antonio Passalia as Coubassi
Jimmy Karoubi as Jean-Luc
Roger Rudel as Benita
Carlo Nell as the assassin in the theatre

Crew
Josée Dayan was the assistant director on the movie 

Bibliography
Blake, Matt; Deal, David (2004)  The Eurospy Guide  Baltimore: Luminary Press  ISBN 1-887664-52-1 
Passage 3:
Herbert Wilcox
Herbert Sydney Wilcox  CBE (19 April 1890 – 15 May 1977) was a British film producer and director  
He was one of the most successful British filmmakers from the 1920s to the 1950s  He is best known for the films he made with his third wife Anna Neagle 

Early life
Wilcox's mother was from County Cork, Ireland, and Wilcox considered himself Irish, but he was born in Norwood, south London  His family moved to Brighton when Wilcox was eight years old; he was one of five children 
His family were poor and Wilcox had to do a number of part-time jobs, including some work as a chorus boy at the local Hippodrome  His mother died of tuberculosis when she was 42  Wilcox left school before the age of fourteen to find work  Shortly afterwards, his father died at the age of 42  Wilcox began earning money as a professional pool player at the Metropole in Camberwell Green 
The First World War broke out and Wilcox enlisted in the army  He was training cadets in County Cork when the Easter Rising broke out in 1916 and Wilcox was wounded  He then enlisted in the Royal Flying Corps to earn more money and trained as a pilot  A case of appendicitis kept him away from the front for a time but he wound up serving in France and serving as a flight instructor in England 

Film career
After the war, Wilcox went to work for his brother Charles as a film salesman  He began selling American films to Yorkshire exhibitors, occasionally working with Victor Saville 

Astra Films
In 1919, Wilcox used his war gratuity to found his own distribution company, Astra Films, in association with his brother and a colleague, Jack Smart  Wilcox contributed £117, and the others made up the rest  It was based in Yorkshire  "Owing to the war, there were practically no British productions", said Wilcox  "They were almost all American films " The company was immediately successful so they expanded into London 

Graham-Wilcox Productions
Astra had a lot of success with a British film, A Peep Behind the Scenes (1919) so Wilcox decided to produce a British film himself  He raised £1,400 to make The Wonderful Story (1922)  It was directed by a Newcastle exhibitor who shared Wilcox's enthusiasm for D  W  Griffith, Jack Graham Cutts; he and Wilcox established Graham-Wilcox Productions  Wilcox sold the film for £4,000 and the premiere got excellent reviews  This enabled Wilcox to raise funds for a slate of films, before The Wonderful Story was released and flopped at the box office However the next Graham-Wilcox production, Flames of Passion (1922), starring imported Hollywood star Mae Marsh was a big hit, among the first British films sold to the USA  The success of the film inspired Wilcox to steer away from realistic drama and focus on escapist entertainment 

Director
Wilcox optioned the screen rights for Chu-Chin-Chow (1923), with imported American star Betty Blythe   The film was shot in Germany at UFA's studios in association with Eric Pommer with a huge budget but was only a moderate success  He followed it with Southern Love (1924), shot in Vienna, again with Blythe  Wilcox launched the film with a mock bull fight in Albert Hall and says the film returned a profit in England alone Pommer asked Wilcox to collaborate again and they made Decameron Nights (1924) 
Back in Britain he made Paddy the Next Best Thing (1923) 
After what he described as a "series of unimpressive films" he made The Only Way (1926), based on a stage play which was based on A Tale of Two Cities He followed it with Nell Gwyn (1926), starring Dorothy Gish in the title role  This was a big success around the world 

British National Films
The world rights to Nell Gwyn were purchased by British National Films, a company established by J D  Williams, who signed Wilcox and Gish to make three more films, all financed by Paramount:  Madame Pompadour (1926), the first film shot at the newly built Elstree Studios; London (1926); and Tip Toes (1927)  It was later revealed in a court case that Wilcox's fee was £3,000 a film plus 25% of the profits, but there were no profits for the three films 

British and Dominions Film Corporation
Wilcox ended up leaving British National and founded the British and Dominions Film Corporation with Nelson Keys with capital of half a million pounds  HIs first film for them, via Herbert Wilcox Productions, was Mumsie (1927), starring Pauline Frederick and, in his debut, Herbert Marshall 
Wilcox wanted to make another film with Frederick and suggested Noël Coward's The Vortex but Frederick disliked the role  Wilcox instead decided to do a version of the Edith Cavell story, Dawn (1928)  Frederick dropped out of the film, and was replaced by Sybil Thorndike  Filming proved difficult but the resulting movie was a big hit  In 1928 British and Dominion Films insured Wilcox for £100,000 There was some talk he would make a film of the Burke and Wills story  Instead he made what he described as "a series of unimportant but profitable films": The Bondman (1929), The Woman in White (1929),

Sound Films
Generally, Alfred Hitchcock's Blackmail is regarded as the first film with sound, but Wilcox's Black Waters was trade-shown several weeks earlier in May, 1929 He produced more than a hundred films, of which he directed about half   "His film production team were never laid off, even during the worst depressions of the British film industry  They were on full salary 52 weeks of the year "Wilcox built and equipped sound studios next to the British International Pictures studios, which they bought from John Maxwell  Wilcox signed up top stage artists such as Jack Buchanan, Tom Walls and Ralph Lynn and Sydney Howard, with C B  Cochran and Albert de Courville as producers  He announced plans to make nine talkies He produced and directed the first British all talkie ever made, Wolves (1930), with Charles Laughton and Dorothy Gish and produced Canaries Sometimes Sing (1930) He made an arrangement to produce a series of films in association with His Master's Voice gramophone company, with the aim of using their celebrity recording stars  Among the films they were to make together were Cochran's Talkie Revue, a film of C B Cochran's variety show; the play Rookery Nook; an adaptation of the novel The Blue Lagoon, and the life story of Robert Burns However their first movie, The Loves of Robert Burns (1930), with Joseph Hislop, was not a success and the arrangement abruptly ended  Wilcox's plans to make The Life of Beethoven and a version of Don Quixote starring Chaliapin had to be cancelled Wilcox produced Rookery Nook (1930), an Aldwych farce based on the play by Ben Travers and directed by Tom Walls  It led to a series of Aldwych farces from Travers and Walls 
He acted as producer only on  Splinters (1930), high Treason (1930, The Mountain of Mourne (1930), Warned Off (1930), On Approval (1930), Tons of Money (1930), Mischief (1931), The Speckled Band (1931), Plunder (1931), Almost a Divorce (1931), Up for the Cup (1931) with Sydney Howard, The Barton Mystery (1932), Life Goes On (1932), Thark (1932), Leap Year (1932), It's a King (1932),The Love Contract (1932), Say It with Music(1932),  The Mayor's Nest (1932), and A Night Like This (1932) 
As a director he made The Chance of a Night Time (1931) with Ralph Lynn from a play by Ben Travers; Carnival (1931); and The Blue Danube (1933) 

Anna Neagle
Wilcox's professional relationship with Anna Neagle began when he was looking for a leading lady to support Jack Buchanan in Goodnight, Vienna (1932)  He decided to cast her after seeing Neagle support Buchanan on stage in a musical Stand Up and Cheer  Goodnight Vienna was Wilcox's biggest success to that time He used Neagle again in The Flag Lieutenant (1932)
He made some films without her – Money Means Nothing (1932), The King's Cup (1933), General John Regan (1933), The Blarney Stone (1933), The King of Paris (1933), Lord of the Manor (1933), Discord (1933) – then they were reunited on The Little Damozel (1933), a conscious effort on Wilcox's part to ensure that Neagle was not type cast as an "English Rose" He bought the rights to a John Galsworthy play Loyalties and developed a screenplay  He later sold it to William Fox for a profit  He produced That's a Good Girl (1933) 
Bitter Sweet (1933) starred Neagle, based on the operetta by Noël Coward  It was a box office failure Yes, Mr Brown (1933) was a vehicle for Jack Buchanan and Lilies of the Field (1934) without her  Wilcox was back to Neagle for The Queen's Affair (1934)  He and Neagle had a big hit with a new version of Nell Gwynn (1934)  They followed it with Peg of Old Drury (1935) 
He also produced Escape Me Never (1935), starring Elisabeth Bergner, which was a surprise box office hit 

Herbert Wilcox Productions
The success of Peg of Old Drury saw Wilcox approached by Lord Portal to set up his own company, Herbert Wilcox Productions  Wilcox resigned from British Dominion, and set up the new company with C M  Woolf and J  Arthur Rank  The only other shareholders in the company apart from Wilcox were Woolf and his brother Maurice 
Wilcox, Woolf, Portal and Rank soon established themselves as a major player in the industry by buying Universal Pictures' English operations; Wilcox was appointed to the board to directors of Universal English and the Universal American parent company  He also had shares in a new company, General Cinema Finance, which was to control the distribution and production of films and acquire cinemas  This company would go on to acquire Gaumont British and the Odeon circuit and form the back bone of the Rank Film empire Their first film was Street Singer Serenade (1936), aka Limelight, directed by Wilcox with Neagle and Jack Buchanan  It was followed by Fame (1936), which he produced, starring Sydney Howard and new Wilcox discovers Miki Hood and Geraldine Hislop  He and Neagle did a story about trapeze artists, Three Maxims (1936) He made Where's George? (1936) with Sydney Howard 
Wilcox was back with Buchanan with This'll Make You Whistle (1936)  He wanted to make an epic version of The Blue Lagoon with Hollywood stars to be shot mostly on location in Hawaii and a biopic of Lady Hamilton with Neagle but neither was made  Instead he made Millions (1937) 
Wilcox's film studio at Elstree burnt down and Wilcox moved to new studios at Pinewood  There he made London Melody (1937) with Neagle 

RKO
Wilcox wanted to star Neagle in a biopic of Queen Victoria  Woolf refused to finance it, believing it to be a bad investment, so Wilcox raised the bulk of the finance himself  Wilcox invested his entire savings and Neagle put in £10,000  They secured a distribution agreement with RKO  Victoria the Great (1937) was a massive success and led to Wilcox signing a ten-year deal with RKO to help finance and distribute the films He and Neagle promptly made a sequel, Sixty Glorious Years (1938)  Wilcox produced but did not direct A Royal Divorce (1938) starring Ruth Chatterton  Wilcox announced he would make a biopic of Lord Kitchener but the film was never made 

Hollywood
He and Neagle went to the US to work for RKO  They looked into making a biopic of Marie Lloyd but could not find a suitable co-star for Neagle so instead made another biopic, Nurse Edith Cavell (1939)  They were going to follow it with a biopic of Flora MacDonald filmed in Scotland but the declaration of war made that impossible  Instead they made three musicals: Irene (1940), with Ray Milland; No, No, Nanette (1940), with Victor Mature; and Sunny (1941) with Ray Bolger  They were among the many names who worked on Forever and a Day (1943) 
In July 1941, Wilcox and Neagle returned to England to make They Flew Alone (1942) a biopic of Amy Johnson and the war thriller Yellow Canary (1943) 

The London Films
Wilcox and Neagle had a big hit with I Live in Grosvenor Square (1945), co starring Rex Harrison and Dean Jagger  They followed it with Piccadilly Incident (1946), starring Neagle and Michael Wilding, which was even more popular, the second biggest British hit of 1946  Wilcox signed Wilding to a long-term contract 
The Courtneys of Curzon Street (1947) was the most popular film at the British box office in 1947  Another hit was Spring in Park Lane (1948) 
Wilding was not in their next film, Elizabeth of Ladymead (1948) but returned for Maytime in Mayfair (1949), a sequel to Spring in Park Lane, and another massive success 
Wilcox and Neagle returned to war stories with Odette (1950) a biopic of Odette Samson starring Neagle and Trevor Howard, and Wilcox's most profitable movie to date  He planned to make a biopic about Van Gogh starring Trevor Howard, but it was never made Wilcox made a film without Neagle, Into the Blue (1950), with Wilding and Odile Versois; it was not particularly popular  Neagle and Wilding were reunited for The Lady with a Lamp (1951), a biopic of Florence Nightingale and Derby Day (1952), an ensemble film  Both did well at the box office but not as well as the late 40s films 

Margaret Lockwood and Republic Pictures
In the early 1950s Neagle had a long running stage hit, The Glorious Years  In November 1951 Wilcox signed a multi picture deal with Margaret Lockwood to make six films in three years  The following year he signed a six-picture deal with Republic Films 
The first movie Lockwood-Wilcox film, Trent's Last Case (1952) was a solid success, helped by a cast including Wilding and Orson Welles  However Laughing Anne (1953), co-starring Forrest Tucker and Wendell Corey, and Trouble in the Glen (1954), with Welles, did poorly and he made no further films with Lockwood or Republic 
Wilcox was further hurt when a film he produced, The Beggar's Opera (1953), was a box office disaster 

Errol Flynn and Ivor Novello
Wilcox formed a new production company, Everest, and made two musicals with Neagle and Errol Flynn: Lilacs in the Spring (1954), based on The Glorious Years, and King's Rhapsody (1955), based on a musical by Ivor Novello  Both flopped and plans to make a third Novello film, Perchance to Dream did not happen 

Last films
Wilcox had a hit with My Teenage Daughter (1956), a story of Neagle dealing with a juvenile delinquent daughter played by Sylvia Syms  Less successful was These Dangerous Years (1957), produced by Neagle and directed by Wilcox, starring George Baker and Frankie Vaughan, and no Neagle 
He produced but did not direct a war film,  Yangtse Incident (1957), which performed reasonably well at the British box office but ultimately lost money  Wilcox found himself personally liable for some of the film's costs 
He tried a drama with Neagle, The Man Who Wouldn't Talk (1958), and three films with Vaughan: Wonderful Things! (1958), The Heart of a Man (1959), and The Lady Is a Square (1959) 

Bankruptcy
Wilcox was plagued with financial troubles in the 1950s and 1960s  He missed an early opportunity to invest in television; Anna Neagle's chain of dancing schools failed; he and Neagle invested heavily in British Lion shares and the company went into receivership; he borrowed £341,000 from the Edgware Trust; he and Neagle had guaranteed a £75,000 loan to make the two Errol Flynn films; and he paid £100,000 to Terence Rattigan for the film rights to his play Ross only for him to be unable to get it made   His film company failed in the 1960s  He spent two years trying to make a film about King Edward VII but the Queen refused permission  He was declared bankrupt in 1964, owing £16,000 to the Edgware Trust and £134,313 over all However, the musical play Charlie Girl, starring his wife Anna Neagle, ran for five years and resolved this financial situation Wilcox made some money from writing articles and was discharged as a bankrupt in 1966 after paying about 4 1/2 d in the pound to creditors According to one profile "The conventional view of Wilcox is that, despite his eventual bankruptcy, his considerable entrepreneurial skills enabled him to sustain a continued presence over a long period in a notoriously unstable industry; discussion of his directorial qualities usually acknowledges his professionalism but falls short of crediting him with any authorial status "

Personal life
In June 1917, Herbert Wilcox was granted a divorce from his first wife Dorothy, whom he had married on 2 December 1916 at St Luke's (CoE), Brighton   At the time, Herbert Wilcox was a lieutenant in the Royal Flying Corps   His wife was "carrying on a disgraceful intrigue" with an also-married Mr  Stanley Steel   The jury awarded Wilcox damages, possibly shared with Mrs Steel, of £750 plus costs In 1920, Wilcox married Maude Bower; they had four children together  Wilcox married his third wife, actress Anna Neagle, on 9 August 1943  The couple remained married until Wilcox's death in 1977, but they had no children 
Prior to his death at the age of 87 in London, England after a long illness, Wilcox donated four Daily Mail National Film Awards to the Glebelands Retirement Home in Wokingham 
Wilcox is buried in the City of London Cemetery 

Awards
In 1937, the Wilcox film Victoria the Great was nominated for the Mussolini Cup at the Venice Film Festival, but lost out to the French film Life Dances On (Un carnet de bal)  Wilcox lost the Festival's Best Director award to Robert J  Flaherty and Zoltán Korda for Elephant Boy  However, Victoria the Great and Wilcox won the Festival's Nations Cup for "Best World Premiere" 
Wilcox won four Daily Mail National Film Awards 

1947 – Best Film – Piccadilly Incident (producer and director)
1948 – Best Film – The Courtneys of Curzon Street (producer and director)
1949 – Best Film – Spring in Park Lane (producer and director)
1951 – Best Film – Odette (producer and director)

Selected filmography
Director
Chu-Chin-Chow (1923)
Southern Love (1924)
Decameron Nights (1924)
Nell Gwyn (1926)
London (1926)
Mumsie (1927)
Madame Pompadour (1927)
Tip Toes (1927)
The Only Way (1927)
Dawn (1928)
The Bondman (1929)
The Woman in White (1929)
Splinters (1929)
The Loves of Robert Burns (1930)
The Chance of a Night Time (1931)
Carnival (1931)
The Blue Danube (1932)
Good Night, Vienna (1932)
Money Means Nothing (1932)
The King's Cup (1932)
The Little Damozel (1933)
Bitter Sweet (1933)
Yes, Mr  Brown (1933)
The Queen's Affair (1934)
Nell Gwynn (1934)
Peg of Old Drury (1935)
Where's George? (1935)
Three Maxims (1936)
This'll Make You Whistle (1936)
Limelight (1937)
London Melody (1937)
Victoria the Great (1937)
Sixty Glorious Years (1938)
A Royal Divorce (1938)
Nurse Edith Cavell (1939)
No, No, Nanette (1940)
Irene (1940)
Sunny (1941)
They Flew Alone (1942)
Forever and a Day (1943)
Yellow Canary (1943)
I Live in Grosvenor Square (1945)
Piccadilly Incident (1946)
The Courtneys of Curzon Street (1947)
Spring in Park Lane (1948)
Elizabeth of Ladymead (1948)
Maytime in Mayfair (1949)
Odette (1950)
Into the Blue (1950)
The Lady with the Lamp (1951)
Derby Day (1952)
Trent's Last Case (1952)
Laughing Anne (1953)
Trouble in the Glen (1953)
Lilacs in the Spring 1954)
King's Rhapsody (1955)
My Teenage Daughter (1956)
These Dangerous Years (1957)
The Man Who Wouldn't Talk (1958)
Wonderful Things! (1958)
The Heart of a Man (1959)
The Lady Is a Square (1959)

Producer
The Wonderful Story (1922)
Paddy the Next Best Thing (1923)
Warned Off (1930)
On Approval (1930)
Tons of Money (1930)
Plunder (1931)
The Barton Mystery (1932)
Life Goes On (1932)
Say It with Music (1932)
Thark (1932)
Leap Year (1932)
A Night Like This (1932)
The Flag Lieutenant (1932)
General John Regan (1933)
The Blarney Stone (1933)
Lord of the Manor (1933)
Discord (1933)
Lilies of the Field (1934)
Fame (1936)
Millions (1937)
Passage 4:
Mohsen Eslamzadeh
Mohsen Eslamzadeh is an Iranian documentary filmmaker  He is the director of Alone Among The Taliban  This film has won the best documentary award at the 44th Athens International Film and Video Festival in the United States  
This film has won the best documentary award at the 12th Marbella International Film Festival in Spain  
This film has won the Shahid Avini Award offers 

Filmography
“The Sunnies of Iran”
“Mothers of the Revolution”
“Mysteries of Abu-Salim Prison”
“In the name of Liberty”
“Looking for Peace”
“Alone Among The Taliban”
The Dream of Marjaan

Awards and honors
The competition of the international festival of documentary films "Meetings in Siberia" | Russia, 2018
The competition of the "Tiburon International Film Festival" | USA, 2017
The best documentary of “Athen international film + video festival” | USA, 2017The best documentary of “Marbella international film festival” | Spain, 2017The “Moscow detective film festival” | Russia, 2017
The competition of the “Thin line film festival” | USA, 2017The competition of the “Asia-Pacific Film Festival” | 2016
The competition of the “Human rights film festival” | Italy, 2017The competition of the “Ismailia international film festival” | Egypt, 2017The winner of the “Shahid Avini” international section of the “Cinema Verite” | Iran, 2015
The winner of the “Ammar popular film festival” | Iran, 2015
The 8th “Ammar film festival” for The Documentary of “Qasr-e-Qand” | Iran, 2018
The 7th “Ammar film festival” for The TV show of “Vatandar” | Iran, 2017
The winner of the 5th Ammar festival for the film "Sunnis in Iran"
The winner of the international section of the forth Ammar festival for the film "Journey to the Land of Pashtuns"
The winner of the special section of “Ruyesh” (growth) festival for the film “Mother of the Revolution”
The winner of the international section of the third Ammar festival for the film “ the Thought of Being”
The honored young documentary director from Mashhad in 2010 chosen by Mashhad's Islamic Revolution Cultural Centre 
The honored in the “Awakening Sequence” for the film “the Lover”
The honored in the first Ammar film Festival for the film “the Street of Martyrdom”He is a former guest of the many film festivals such as:

The “Nahj film festival” for The documentary of “Me and the commander” | Iraq, 2016
The Festival as a guest speaker “Aljazeera film festival” for the film “Mysteries of Abusalim Prison” | Qatar, 2013
The “Resistance international film festival” for the film of “Al-Sheikh Sabah” | Iran, 2015Eslamzadeh participated in few film festivals such as: “Fajr”, “Cinema Verity” and “Rooyesh” in Iran 
Eslamzadeh has won numerous awards and fellowships including “Aljazeera” in Qatar and “Human Rights” in Spain and he awarded in some of them 
Passage 5:
London Melody
London Melody is a 1937 British musical film directed by Herbert Wilcox and starring Anna Neagle, Tullio Carminati and Robert Douglas  It was made at British and Dominions Imperial Studios, Elstree and Pinewood Studios  by Wilcox's independent production company and distributed by J  Arthur Rank's General Film Distributors  It was also released with the alternative title Look Out for Love 
It was the first movie shot at Pinewood 

Synopsis and production
A musical with a trial  One of several Anna Neagle - Tullio Carminati vehicles of the era, London Melody was one of five films directed within a year or so by Neagle's future husband, Herbert Wilcox  This time around, Carminatti is cast as Marius Andreani, a cultured Italian diplomat  While in London on business, Marius makes the chance acquaintance of boisterous cockney street entertainer Jacqueline (Neagle)  It is love at first sight, but hero and heroine must undergo a dizzying series of roadblocks and misunderstandings before the climactic clinch  Meanwhile, Jacqueline rises to the top of show-business success, never dreaming (until the end, at least) that it is all the secret handiwork of faithful Marius 
British and Dominions Imperial Studios was destroyed by fire in the early morning of 9 February 1936, necessitating the move of the production to Pinewood 

Cast
Critical reception
In 1937, The Sydney Morning Herald called it an "attractive and well-acted picture   Produced and directed by Herbert Wilcox in a way that contrasts favourably with Hollywood's efforts in a similar direction   Anna Neagle, a gifted actress, with definite charm and personality, makes a delightful Jacqueline  As the diplomat   Tulllo Carminati lends distinction and poise to his role  Perhaps the best character in the film is the priest, Horace Hodges, a lovable and very human person  Robert Douglas makes a good impression in the rather inconsistent part of Nigel Taplow, Andreani's secretary"; whereas more recently, Sky Movies described it as "a very thin musical vehicle for Anna Neagle, bizarrely cast as a cockney street singer  This dated offering   will prove tough going for all but hardened Neagle fans today "
Passage 6:
Ravina (actress)
Ravina is an Indian actress who acted in Dhallywood movies  She acted in the 1997 film Praner Cheye Priyo with Riaz  She also appeared in Sabdhan and Dolopoti, again opposite Riaz 

Selected filmography
Praner Cheye Priyo
Sabdhan
Dolopoti
Passage 7:
Querelle
Querelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest  It was Fassbinder's last film, released shortly after his death at the age of 37 

Plot
The plot centers on the handsome Belgian sailor Georges Querelle, who is also a thief and murderer  When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother  Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly  Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario 
Querelle makes a deal to sell opium to Nono  During the execution of the deal, he murders his accomplice Vic by slitting his throat   After delivering the drugs, Querelle announces that he wants to sleep with Lysiane   He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers  If Nono loses, the suitor is allowed to proceed with his affair  If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that "That way, I can say my wife only sleeps with arseholes " Querelle deliberately loses the game, allowing himself to be sodomized by Nono  When Nono gloats about Querelle's "loss" to Robert, who won his dice game, the brothers end up in a violent fight   Later, Querelle becomes Lysiane's lover, and also has sex with Mario 
Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him   Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee  Querelle falls in love with Gil, who closely resembles his brother   Gil returns his affections, but Querelle betrays Gil by tipping off the police  Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil 
Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him  Seblon is aware that Querelle murdered Vic, but chooses to protect him   Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to Le Vengeur 

Cast
Brad Davis as Querelle
Franco Nero as Lieutenant Seblon
Jeanne Moreau as Lysiane
Laurent Malet as Roger Bataille
Hanno Pöschl as Robert / Gil
Günther Kaufmann as Nono
Burkhard Driest as Mario
Roger Fritz as Marcellin
Dieter Schidor as Vic Rivette
Natja Brunckhorst as Paulette
Werner Asam as Worker
Axel Bauer as Worker
Neil Bell as Theo
Robert van Ackeren as Drunken legionnaire
Wolf Gremm as Drunken legionnaire
Frank Ripploh as Drunken legionnaire

Production
According to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor  However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and Sam Peckinpah, before finally settling on Fassbinder  Driest wrote a radically different script for Fassbinder, who then "took the linear narrative and jumbled it up"  White quotes Schidor as saying "Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story  The story became totally unimportant for him  He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it" Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio  Edmund White comments that the result is a film in which, "Everything is bathed in an artificial light and the architectural elements are all symbolic "

Soundtrack
Jeanne Moreau – "Each Man Kills the Things He Loves" (music by Peer Raben, lyrics from Oscar Wilde's poem "The Ballad of Reading Gaol")
"Young and Joyful Bandit" (Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for "Worst Original Song" 

Release
Querelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a gay theme had achieved such success  On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14 critics comments  By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6 10/10  Writing for The New York Times critic Vincent Canby noted that Querelle was "a mess   a detour that leads to a dead end "
Penny Ashbrook calls Querelle Fassbinder's "perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker " Edmund White considers Querelle the only film based on Genet's book that works, calling it "visually as artificial and menacing as Genet's prose " Genet, in discussion with Schidor, said that he had not seen the film, commenting "You can't smoke at the movies "
Passage 8:
Claude Chabrol
Claude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s  Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker 
Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943)  Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity  This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time 
Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career  In 1978, he cast Isabelle Huppert as the lead in Violette Nozière  On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1995)  Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium   Some of his films become almost private jokes, made to amuse himself " James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard "

Life and career
Early life
Claude Henri Jean Chabrol was born on 24 June 1930 to Yves Chabrol and Madeleine Delarbre in Paris and grew up in Sardent, France, a village in the region of Creuse 400 km (240 miles) south of Paris  Chabrol said that he always thought of himself as a country person, and never as a Parisian  Both Chabrol's father and grandfather had been pharmacists, and Chabrol was expected to follow in the family business  But as a child, Chabrol was "seized by the demon of cinema" and ran a film club in a barn in Sardent between the ages of 12 and 14  It was at this time that he developed his passion for the thriller genre, detective stories and other forms of popular fiction 

Early years in Paris
After World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, where he received a licence en lettres  Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques  While living in Paris Chabrol became involved with the postwar cine club culture and frequented Henri Langlois's Cinémathèque Française and the Ciné-Club du Quartier Latin, where he first met Éric Rohmer, Jacques Rivette, Jean-Luc Godard, François Truffaut and other future Cahiers du Cinéma journalists and French New Wave filmmakers  After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant  Chabrol has said that while in the army he worked as a film projectionist  After he was discharged from the army, he joined his friends as a staff writer for Cahiers du Cinéma, who were challenging then-contemporary French films and championing the concept of Auteur theory  As a film critic, Chabrol advocated realism both morally and aesthetically, mise-en-scene, and deep focus cinematography, which he wrote "brings the spectator in closer with the image" and encourages "both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress " He also wrote for Arts magazine during this period  Among Chabrol's most famous articles were "Little Themes", a study of genre films, and "The Evolution of Detective Films" In 1955 Chabrol was briefly employed as a publicity man at the French offices of 20th Century Fox, but was told that he was "the worst press officer they'd ever seen" and was replaced by Jean-Luc Godard, who they said was even worse  In 1956 he helped finance Jacques Rivette's short film Le coup du berger, and later helped finance Rohmer's short Véronique et son cancre in 1958  Unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors' work before making his feature film debut  In 1957 Chabrol and Eric Rohmer co-wrote Hitchcock (Paris: Éditions Universitaires, 1957), a study of the films made by director Alfred Hitchcock through the film The Wrong Man  Chabrol had said that Rohmer deserves the majority of the credit for the book, while he mainly worked on the sections pertaining to Hitchcock's early American films, Rebecca, Notorious, and Stage Fright  Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of To Catch a Thief, where the two famously walked into a water tank after being starstruck by Hitchcock  Years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw "ice cubes in a glass of whiskey "

1957–67: Early film career
The most prolific of the major New Wave directors, Chabrol averaged almost one film a year from 1958 until his death  His early films (roughly 1958–1963) are usually categorized as part of the New Wave and generally have the experimental qualities associated with the movement; while his later early films are usually categorized as being intentionally commercial and far less experimental  In the mid-sixties it was difficult for Chabrol to obtain financing for films so he made a series of commercial "potboilers" and spy spoofs, which none of the other New Wave filmmakers did Chabrol had married Agnès Goute in 1952 and in 1957 his wife inherited a large sum of money from relatives  In December of that year Chabrol used the money to make his feature directorial debut with Le Beau Serge  Chabrol spent three months shooting in his hometown of Sardent using a small crew and little known actors  The film's budget was $85,000  The film starred Jean-Claude Brialy as François and Gérard Blain as Serge, two childhood friends reunited when the recent medical school graduate François returns to Sardent and discovers that Serge has become an alcoholic after the stillbirth of his physically retarded first child  Despite suffering from tuberculosis, François drags Serge through a snowstorm to witness the birth of his second child, thus giving Serge a reason to live while killing himself in the process  Le Beau Serge is considered the inaugural film of the French New Wave Film movement that would peak between 1959 and 1962  Chabrol was the first of his friends to complete a feature film (although Jacques Rivette had already begun filming his first feature Paris nous appartient), and it immediately received critical praise and was a box office success  It won the Grand Prix at the Locarno Film Festival and the Prix Jean Vigo  Critics noticed similarities to Hitchcock's films, such as the motifs of doubling and re-occurrences and the "Catholic guilt transference" that Chabrol had also written about extensively in his and Rohmer's book the year earlier  Chabrol stated that he made the film as a "farewell to Catholicism", and many critics have called his first film vastly different from any of his subsequent films Chabrol quickly followed this success up with Les Cousins in 1958  The film is a companion piece and a reversal to Le Beau Serge in many ways, such as having the responsible student Brialy now play the decadent and insensitive Paul while the reckless Blain now plays the hard-working law student Charles  In this film, the country cousin Charles arrives in the big city of Paris to live with his corrupt cousin Paul while attending school  This was the first of many Chabrol films to include characters named Paul and Charles, and later films would often include a female named Hélène  More so than his first film, Les Cousins features many characteristics that would be seen as "Chabrolian", including the Hitchcock influence, a depiction of the French bourgeoisie, characters with ambiguous motives and a murder  It was also Chabrol's first film co-written with his longtime collaborator Paul Gégauff, of whom Chabrol once said "when I want cruelty, I go off and look for Gégauff  Paul is very good at gingering things up   He can make a character look absolutely ridiculous and hateful in two seconds flat " Les Cousins was another box office success in France and won the Golden Bear at the 9th Berlin International Film Festival Chabrol formed his own production company AJYM Productions (acronym based on the initials of his wife's and children's names) at the time of making Le Beau Serge   After the success of Le Beau Serge and Les Cousins, Chabrol began funding many of the films of his friends  AJYM helped fund Eric Rohmer's feature debut The Sign of Leo, partially funded Rivette's Paris nous appartient, and Philippe de Broca's films Les Jeux de l'amour and Le farceur  He also donated excess film stock from Les Cousins to Rivette to complete Paris nous appartient  Chabrol was also a technical advisor on Jean-Luc Godard's feature debut Breathless and acted in small parts in many of his friends' and his own early films  For his support to the early careers of so many of his friends, Chabrol has been referred to as "the godfather of the French New Wave", although many film histories tend to overlook this contribution and dismiss Chabrol altogether After two box office hits in a row, Chabrol was given a big budget to make his first color film, À double tour (Léda) in the spring of 1959  The film stars Jean-Paul Belmondo as Laszlo and Antonella Lualdi as Léda, two outsiders of a bourgeois family who experience different results when attempting to enter that family  Chabrol adapted the script with Paul Gégauff from a novel by Stanley Ellin, and the film is known for its oedipal sex triangle and murder scenario  The film was shot on location in Aix-en-Provence with cinematographer Henri Decaë and includes choppy, hand-held camera footage that is atypical of a Chabrol film despite being present in many of the New Wave films made at the same time  The film was both a box office and critical disappointment, and critic Roy Armes criticized "Chabrol's lack of feeling for his characters and love of overacting "In 1960 Chabrol made what is considered by many critics as his best early film, Les Bonnes Femmes  The film stars Bernadette Lafont, Clotilde Joano, Stéphane Audran and Lucile Saint-Simon as four Parisian appliance store employees who all dream of an escape from their mediocre lives, and the different outcomes for each girl  Most critics praised the film, such as Robin Wood and James Monaco  However some left-wing critics disliked Chabrol's depiction of working-class people and accused him of making fun of their lifestyles  The film was another box office disappointment for Chabrol  It was followed with two films that were also financially unsuccessful and which Chabrol has admitted to making purely for "commercial reasons"  Les Godelureaux was made in 1960 and hated by Chabrol  The Third Lover (L'Œil du Malin), released in 1961, received better reviews than Chabrol's previous films, with critics pointing out that the films that Chabrol wrote without Paul Gégauff were much more compassionate and realistic than the ones with Gégauff  It was shot on location in Munich  Although she had appeared in supporting roles in several Chabrol films before, The Third Lover was the first Chabrol film in which Stéphane Audran appeared as the female lead  They later married in 1964 and worked together until the late 1970s In 1962 Chabrol made Ophelia, a loose adaptation of Hamlet that was another box office disappointment  Later that year he had a minor hit film with Landru, written by Françoise Sagan and starring Charles Denner, Michèle Morgan, Danielle Darrieux and Hildegard Knef  The film depicts the famous French serial killer Henri Désiré Landru, a story that had previously inspired Charlie Chaplin's film Monsieur Verdoux From 1964 to 1967 Chabrol made six films and one short that were critically and commercially disastrous, and this period is considered a low point of his career  Four of these films were in the then-popular genre of spy spoof films, including Le Tigre aime la chair fraiche and Le Tigre se parfume à la dynamite  Chabrol had said that "I like to get to the absolute limit of principles   In drivel like the Tiger series I really wanted to get the full extent of the drivel  They were drivel, so OK, let's get into it up to our necks " During this period a Variety headline read "Vital To Keep Making Pictures, and What Sort Not Relevant; Chabrol No 'Doctrinaire' Type " In 1965 Chabrol also contributed to the New Wave portmanteau film Six in Paris with the segment "La Muette"  Chabrol co-starred with Stéphane Audran as a middle aged couple dealing with their rebellious teenage daughter  In 1964 Chabrol also directed a stage production of MacBeth for the Théâtre Récamier 

1968–78: "Golden Era"
In 1968 Chabrol began working with film producer André Génovès and started to make more critically acclaimed films that would later be considered his "Golden Era"  Most of these films revolved around themes of bourgeois characters and a murder is almost always part of the plot  Unlike his earlier films, most of these films centered around middle aged people  Chabrol often worked with the same people during this period including actors Audran and Michel Bouquet, cinematographer Jean Rabier, editor Jacques Gaillard, sound technician Guy Chichignoud, composer Pierre Jansen, set designer Guy Littaye, as well as producer Génovés and co-writer Paul Gégauff In 1968 Chabrol made Les Biches, one of his most acclaimed works  The film stars Stéphane Audran as the dominant and bisexual Frédérique, who finds a young protege in the bisexual Why (Jacqueline Sassard), until they both become the lover of a young architect named Paul (Jean-Louis Trintignant)  Why ends up killing Frédérique, but it is unclear whether she murdered her cheating lover or the person that her lover was cheating with  The film received critical praise and was a box office hit  Chabrol followed this with a similar film The Unfaithful Wife (La Femme infidèle), in which a husband named Charles murders the lover of his cheating wife  It was later remade in 2002 by director Adrian Lyne  Chabrol finished the decade with This Man Must Die (Que la bête meure) in 1969  Based on an original story by Cecil Day-Lewis, in the film Charles (Michel Duchaussoy) plots to kill Paul (Jean Yanne) after Paul killed Charles' son in a hit and run car accident  However the film's ending is left intentionally ambiguous, and Chabrol has stated that "you'll never see a Charles kill a Paul  Never " The film was especially praised for its landscape cinematography In 1970 Chabrol made The Butcher (Le boucher) starring Jean Yanne and Stéphane Audran  Yanne plays Popaul, a former war hero known for his violent behavior, much like that depicted in the prehistoric cave drawings that the characters look at in their Périgord community  The French newspaper Le Figaro called it "the best French film since the liberation " After another examination of bourgeois life in The Breach (La Rupture) in 1970, Chabrol made Just Before Nightfall (Juste avant la nuit) in 1971  The film stars Michel Bouquet as an ad executive named Charles who kills his mistress but cannot handle the guilt, so he confesses his crime to her husband (François Périer) and his wife (Stéphane Audran), expecting their condemnation  To his surprise they are only compassionate and forgiving to his crime and Charles cannot find relief from the guilt of what he has done  Later in 1971 Chabrol made Ten Days' Wonder (La Décade prodigieuse), based on a novel by Ellery Queen  The film was shot in English and starred Michel Piccoli, Anthony Perkins and Orson Welles  It received poor critical reviews  He followed this with the equally disliked Dr  Popaul, starring Jean-Paul Belmondo and Mia Farrow  Critics compared the film unfavorably with Chabrol's earlier film that centered on a "Landru-like" theme  Critic Jacques Siclier said that "the novelty of Docteur Popaul comes from the offhandedness with which the criminal history is treated "Chabrol took a slight change of pace with his 1973 film Wedding in Blood (Les Noces rouges) by making his first film with political themes  The film stars Audran and Michel Piccoli as lovers who plot to murder Audran's husband, who is the corrupt gaullist mayor of their town  To their surprise the President of France orders that no investigation be made of the mayor's death, leading the murdering couple to suspect political interest in their crime  In the spring of 1973 the French government banned the film for one month, allegedly so that it would not influence members of the jury of a controversial criminal trial  Chabrol followed this political theme with Nada, in which a group of young anarchists kidnap an American ambassador  It was Chabrol's first film to not center on the bourgeois since Le Beau Serge  Chabrol returned to more familiar ground in 1975 with A piece of pleasure (Une partie de plaisir)  In this film screenwriter Paul Gégauff plays a writer with a troubled marriage that ends in tragedy  (In 1983, Gégauff was stabbed to death in real life by his second wife ) Gégauff's wife is played by his real-life first wife Danièle Gégauff (already divorced when this film was made) and his daughter is played by real life daughter Clemence Gégauff  The film received poor critical reviews, with Richard Roud calling it "rather interestingly loathsome "Chabrol ended his Golden Period with one of his most admired and his most controversial films Violette Nozière in 1978  The film starred a young Isabelle Huppert as a real life Parisian girl from a respectable petit-bourgeois family in the 1930s  At night Violette sneaks out to pick up men and eventually contracts syphilis, which she convinces her parents must be hereditary before she kills them  The film was controversial in France but praised in other countries 

1979–2009: Later work
In the 1980's and 1990's Chabrol engaged himself with many different projects for both TV and the silver screen  His films Poulet au vinaigre (1985) and Masques (1987) were entered into the 38th Cannes Film Festival and 37th Berlin International Film Festival respectively  Madame Bovary (1991) was nominated for the Golden Globe Award for Best Foreign Language Film and for the Academy Award for Best Costume Design  It was also entered into the 17th Moscow International Film Festival  La Cérémonie (1995) is perhaps his most acclaimed film from this period, as it was nominated for numerous César Awards and was entered into the 52nd Venice International Film Festival among other  His 1999 film The Color of Lies was entered into the 49th Berlin International Film Festival In 1995 Chabrol was awarded the Prix René Clair from the Académie française for his body of work 
Chabrol continued directing films and TV series well into the 2000's 

Personal life
Chabrol's first marriage to Agnès Goute (1956–1962) produced a son, Matthieu Chabrol, a composer who scored most of his father's films from the early 1980s  He divorced Agnès to marry the actress Stéphane Audran, with whom he had a son, actor Thomas Chabrol  They remained married from 1964 to 1978  His third wife was Aurore Paquiss, who has been a script supervisor since the 1950s  He had four children  Chabrol was a known gourmet chef and shot 10 Days Wonder in Alsace only because he wanted to visit its restaurants  Although he acknowledges the influence of Alfred Hitchcock in his work, Chabrol has stated that "others have influenced me more  My three greatest influences were Murnau, the great silent film director   Ernst Lubitsch and Fritz Lang "Chabrol died on 12 September 2010 of leukemia  He is buried in Pere Lachaise Cemetery in north-eastern Paris 

Filmography
As director
As actor
TV work
Histoires insolites (1974), 5 episodes
Nouvelles de Henry James (1974), 2 episodes – based on stories by Henry James
Il était un musicien (1978), 3 episodes
Madame le juge (1978), 1 episode
"Jeunesse et Spiritualité" Cyprien Katsaris (1979) Official site
Fantômas (1980), 2 episodes – Remake of Fantômas
Le système du docteur Goudron et du professeur Plume (1981) – based on The System of Doctor Tarr and Professor Fether by Edgar Allan Poe
Les affinités électives (1982) – based on Elective Affinities by Johann Wolfgang von Goethe
M  le maudit (1982, short)
La danse de mort (1982) – based on The Dance of Death by August Strindberg
Les dossiers secrets de l'inspecteur Lavardin (1988), 2 episodes
Les redoutables (2001), 1 episode
Chez Maupassant (2007), 2 episodes – based on stories by Guy de Maupassant
Au siècle de Maupassant: Contes et nouvelles du XIXème siècle (2010), 2 episodes
Passage 9:
Le Masque de la Méduse
Le masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin  The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans  It was Rollin's final film, as the director died in 2010 

Cast
Simone Rollin as la Méduse
Sabine Lenoël as Euryale
Marlène Delcambre as Sthéno
Juliette Moreau as Juliette
Delphine Montoban as Cornelius
Jean-Pierre Bouyxou as le gardien
Bernard Charnacé as le collectionneur
Agnès Pierron as la colleuse d'affiche au Grand-Guignol
Gabrielle Rollin as la petite contrebassiste
Jean Rollin as l'homme qui enterre la tête
Thomas Smith as Thomas

Production
It was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past  However, in 2009, Rollin began preparation foe Le masque de la Méduse  Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire   The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longest part of the film takes place  It was shot on HD video on a low budget of €150,000  Before the release, it was transferred to 35mm film 

Release
The film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse  As part of "An Evening with Jean Rollin", it was shown as a double feature with Rollin's 2007 film La nuit des horloges 

Home media
No official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume 1 
Passage 10:
Thulasi (1987 film)
Thulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan  The film stars Murali and Seetha  It was released on 27 November 1987 

Plot
Thirunavukarasu is considered as a God by his villagers  Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power  Sammadham and Ponni, a low caste girl, fall in love with each other  Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully  Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva 
Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference  Sammadham then challenges him to marry her  Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water  In the meantime, Siva also falls in love with Thulasi  The rest of the story is what happens to Siva and Thulasi 

Cast
Murali as Sivalingam "Siva"
Seetha as Thulasi
Chandrasekhar as Sammadham
Major Sundarrajan as Thirunavukarasu
Senthil
Charle as Khan
Thara as Ponni
Mohanapriya as Sarasu
Vathiyar Raman
A  K  Veerasamy as Kaliyappan

Soundtrack
The music was composed by Sampath Selvam, with lyrics written by Vairamuthu 

Reception
The Indian Express gave a negative review calling it "thwarted love" 
Context 2: Passage 1:
Dameh
Dameh (Persian: دمه) is a village in Qaleh-ye Khvajeh Rural District, in the Central District of Andika County, Khuzestan Province, Iran  At the 2006 census, its population was 87, in 12 families 
Passage 2:
Rhosgoch
Rhosgoch (Welsh pronunciation; meaning: Red Moor) is a small village in the north of the island of Anglesey, Wales, about 3 5 miles (5 6 km) to the south-west of Amlwch  It is in the community of Rhosybol 
A short distance to the west of the village is the small lake Llyn Hafodol and a mile to the south is Anglesey's largest body of water the reservoir Llyn Alaw (Water Lily Lake) The village once had a station on the Anglesey Central Railway  Although the tracks still exist, no train has run on them since 1993  Also connected to the railway, was a short south-west facing spur that led to an oil terminal  This was linked to a floating dock in the sea off of Amlwch, where super-tankers could dock in all tides and feed oil via Rhosgoch and a pipeline to Stanlow oil refinery  This operation lasted for 16 years between 1974 and 1990
Context 3: Passage 1:
Alexandru Cristea
Alexandru Cristea (1890–1942) was the composer of the music for "Limba Noastră", current national anthem of Moldova 

Biography
A choir director, a composer and music teacher  Taught at the  "Vasile Kormilov" music school (1928) with Gavriil Afanasiu and the  "Unirea" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor of the choir in the boys gymnasium "Ion Heliade Rădulescu" in București (1940–1941)  Later, between 1941 and 1942, he directed the choir at the "Queen Mother Elena" high school from Chişinău  In 1920, he was ordained as a deacon of the St  George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău 

Creation
His main creation is considered the music for "Limba Noastră", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici  He was awarded the “Răsplata muncii pentru biserică” 
Passage 2:
Alonso Mudarra
Alonso Mudarra (c  1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument   He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar 

Biography
The place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there   He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana   When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life   While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities   Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will 

Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela ("Three books of music in numbers for vihuela"), which he published on December 7, 1546 in Seville   These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument  The second book is noteworthy in that it contains eight multi-movement works, all arranged by "tono", or mode 
Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs  Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years    The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets)   Another innovation was the use of different signs for different tempos:  slow, medium, and fast 

References and further reading
John Griffiths: "Alonso Mudarra", Grove Music Online ed  L  Macy (Accessed March 24, 2005), (subscription access)
Gustave Reese, Music in the Renaissance   New York, W W  Norton & Co , 1954   ISBN 0-393-09530-4
Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)
The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)
Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative Hypertext
Jacob Heringman and Catherine King: "Alonso Mudarra songs and solos"  Magnatune com (http://www magnatune com/artists/albums/heringman-mudarra/hifi_play)

External links
Free scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)
Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)
Passage 3:
Walter Robinson (composer)
Walter Robinson is an American composer of the late 20th century  He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others   He is also the composer of several operas 
Passage 4:
Peter Dodds McCormick
Peter Dodds McCormick (28 January 1833 – 30 October 1916) was an Australian schoolteacher and songwriter, known for composing the Australian national anthem, "Advance Australia Fair"  He published under the pseudonym Amicus, Latin for "friend" 

Early life
Peter Dodds McCormick was born to Peter McCormick and Janet (née Dodds) at Port Glasgow, Scotland in 1833 

Biography
Peter completed an apprenticeship as a joiner in Scotland before emigrating to Sydney (at that time the principal city of the British colony of New South Wales) on 21 February 1855  He initially worked as a joiner for "some years" McCormick spent most of his work life employed by the NSW Education Department  In 1863 he was appointed teacher-in charge at St Mary's National School  McCormick married Emily Boucher, a sewing teacher, on 16 July 1863, who died on 11 March 1866, aged 22  He remarried, to Emma Elizabeth Dening, on 22 December 1866  He also taught at the Presbyterian Denominational school in the Sydney suburb of Woolloomooloo in 1867  McCormick then moved to Dowling Plunkett Street Public School in 1878 where he remained until 1885 McCormick was heavily involved in the Scottish Presbyterian Church and was active in a number of community and benevolent organisations  He began his involvement with Sydney's St Stephen's Church as a stonemason, working on the now demolished Phillip Street Church (where Martin Place now stands)  The Rev Hugh Darling was so impressed with his singing on the job he asked him to join the choir  McCormick's musical ability led him to becoming the precentor of the Presbyterian Church of NSW, which gave him the opportunity to conduct very large massed choirs  He was also convenor of the Presbyterian Church Assembly's Committee on Psalmody Also a talented composer, he published around 30 patriotic and Scottish songs, some of which became very popular  Included in his collected works was "Advance Australia Fair", which was first performed in public by Andrew Fairfax at the St Andrew's Day concert of the Highland Society on 30 November 1878 "Advance Australia Fair" became quite a popular patriotic song  The Sydney Morning Herald described the music as bold and stirring, and the words "decidedly patriotic" – it was "likely to become a popular favourite"   Later under the pseudonym Amicus (which means 'friend' in Latin), he had the music and four verses published by W  H  Paling & Co  Ltd  The song quickly gained popularity and an amended version was sung by a choir of 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901  In 1907, the New South Wales Government awarded McCormick £100 for his patriotic composition which he registered for copyright in 1915 In a letter to R  B  Fuller Esq , dated 1 August 1913, McCormick described the circumstances that inspired him to pen the lyrics of his famous song:

One night I attended a great concert in the Exhibition Building, when all the National Anthems of the world were to be sung by a large choir with band accompaniment  This was very nicely done, but I felt very aggravated that there was not one note for Australia  On the way home in a bus, I concocted the first verse of my song & when I got home I set it to music  I first wrote it in the Tonic Sol-fa notation, then transcribed it into the Old Notation, & I tried it over on an instrument next morning, & found it correct  Strange to say there has not been a note of it altered since  Some alteration has been made in the wording, but the sense is the same  It seemed to me to be like an inspiration, & I wrote the words & music with the greatest ease 

Death
McCormick died in 1916, aged 83, at his home, Clydebank, in the Sydney suburb of Waverley and he was buried at Rookwood Cemetery  He had no children; he was survived by his second wife Emma  His obituary in the Sydney Morning Herald stated: "Mr  McCormick established a reputation with the patriotic song, Advance Australia Fair, which     has come to be recognised as something in the nature of an Australian National Anthem" The song was performed by massed bands at the Federal capital celebrations in Canberra in 1927   In 1984 it was formally declared as the Australian national anthem 
Passage 5:
Franz Schubert
Franz Peter Schubert (German: [fʁants ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras  Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music  His major works include "Erlkönig" (D  328), the Piano Quintet in A major, D  667 (Trout Quintet), the Symphony No  8 in B minor, D  759 (Unfinished Symphony), the "Great" Symphony No  9 in C major, D  944, the String Quintet (D  956), the three last piano sonatas (D  958–960), the opera Fierrabras (D  796), the incidental music to the play Rosamunde (D  797), and the song cycles Die schöne Müllerin (D  795) and Winterreise (D  911) 
Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age  His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities  In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven  He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher  Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically  In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry  He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career  He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis 
Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death  Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works  Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed 

Biography
Early life and education
Franz Peter Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Archduchy of Austria, on 31 January 1797, and baptized in the Catholic Church the following day  He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812)  Schubert's immediate ancestors came originally from the province of Zuckmantel in Austrian Silesia  His father, the son of a Moravian peasant, was a well-known parish schoolmaster, and his school in Lichtental (in Vienna's ninth district) had numerous students in attendance  He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years later  His mother was the daughter of a Silesian master locksmith and had been a housemaid for a Viennese family before marriage  Of Franz Theodor and Elisabeth's fourteen children (one of them illegitimate, born in 1783), nine died in infancy 

At the age of five, Schubert began to receive regular lessons from his father, and a year later he was enrolled at his father's school  Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months  Ignaz later recalled:

I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way  And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and outstripped me, and whom I despaired of overtaking 
His father gave him his first violin lessons when he was eight years old, training him to the point where he could play easy duets proficiently  Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental  Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert, and the lessons may have largely consisted of conversations and expressions of admiration  Holzer gave the young Schubert instruction in piano and organ as well as in figured bass  According to Holzer, however, he did not give him any real instruction as Schubert would already know anything that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence"  The boy seemed to gain more from an acquaintance with a friendly apprentice joiner who took him to a neighbouring pianoforte warehouse where Schubert could practise on better instruments  He also played viola in the family string quartet, with his brothers Ferdinand and Ignaz on first and second violin and his father on the cello  Schubert wrote his earliest string quartets for this ensemble Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized  In November 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship  At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, the symphonies of Joseph Haydn and his younger brother Michael Haydn, and the overtures and symphonies of Beethoven, a composer for whom he developed admiration  His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education  One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important composer of lieder  The precocious young student "wanted to modernize" Zumsteeg's songs, as reported by Joseph von Spaun, Schubert's friend  Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life  In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper In the meantime, Schubert's talent began to show in his compositions; Salieri decided to start training him privately in music theory and composition  According to Ferdinand, the boy's first composition for piano was a Fantasy for four hands; his first song, Klagegesang der Hagar, would be written a year later  Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and it was the first orchestra he wrote for  He devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother), the cantata Wer ist groß? for male voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82) 

Teacher at his father's school
At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule  In 1814, he entered his father's school as the teacher of the youngest pupils  For over two years, young Schubert endured severe drudgery  There were, however, compensatory interests even then: for example, Schubert continued to take private lessons in composition from Salieri, who gave him more actual technical training than any of his other teachers, before they parted ways in 1817 In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her; she was also a soloist in the premiere of his Mass No  1 (D  105) in September 1814  Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815 requiring an aspiring bridegroom to show he had the means to support a family  In November 1816, after failing to gain a musical post in Laibach (now Ljubljana, Slovenia), Schubert sent Ms  Grob's brother Heinrich a collection of songs retained by the family into the twentieth century One of Schubert's most prolific years was 1815  He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (despite his being an agnostic), a symphony, and about 140 Lieder  In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends  Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1815 Throughout 1815, Schubert lived at home with his father  He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries  Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically  In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the Landstraße suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him  This was probably Schubert's first visit away from home or school  Schubert's unhappiness during his years as a schoolteacher possibly showed early signs of depression, and it is virtually certain that Schubert suffered from cyclothymia throughout his life In 1989 the musicologist Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has been heatedly debated  The musicologist and Schubert expert Rita Steblin has said that he was "chasing women"  The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship  Biographer Lorraine Byrne Bodley is sceptical "   of Solomon’s "outing" of Schubert, saying this misunderstands the passionate "homosocial" friendships of 19th-century Europe "

Support from friends
Significant changes happened in 1816  Schober, a student and of good family and some means, invited Schubert to lodge with him at his mother's house  The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school  By the end of the year, he became a guest in Schober's lodgings  For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition  "I compose every morning, and when one piece is done, I begin another " During this year, he focused on orchestral and choral works, although he also continued to write Lieder  Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers 
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior  Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles  Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music  These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work  Heinrich Anschütz wrote in his memoirs that Schubert was an active member of the so-called Unsinnsgesellschaft (Nonsenses Society), and various scholars agree with this 
In late 1817, Schubert's father gained a new position at a school in Rossau, not far from Lichtental  Schubert rejoined his father and reluctantly took up teaching duties there  In early 1818, he applied for membership in the prestigious Gesellschaft der Musikfreunde, intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts  He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership  However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (now Želiezovce, Slovakia)  The pay was relatively good, and his duties teaching piano and singing to the two daughters were relatively light, allowing him to compose happily  Schubert may have written his Marche Militaire in D major (D  733 no  1) for Marie and Caroline, in addition to other piano duets  On his return from Zseliz, he took up residence with his friend Mayrhofer During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads  Many of them took place in Ignaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte 5, Vienna)  The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820  Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students  One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna  The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language"  While Schubert never saw Senn again, he did set some of his poems, Selige Welt (D  743) and Schwanengesang (D 744), to music  The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time Schubert, who was only a little more than five feet tall, was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom"  "Schwamm" is German (in the Austrian and Bavarian dialects) for mushroom; the ending "-erl" makes it a diminutive  Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "    come not only in later accounts, but also in documents dating from his lifetime "

Musical maturity
The compositions of 1819 and 1820 show a marked advance in development and maturity of style  The unfinished oratorio Lazarus (D  689) was begun in February; later followed, among some smaller works, by the hymn "Der 23  Psalm" (D  706), the octet "Gesang der Geister über den Wassern" (D  714), the Quartettsatz in C minor (D  703), and the Wanderer Fantasy in C major for piano (D  760)  In 1820, two of Schubert's operas were staged: Die Zwillingsbrüder (D  647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D  644) appeared at the Theater an der Wien on 21 August  Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society which grew out of the quartet-parties at his home  Now he began to assume a more prominent position, addressing a wider public  Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission  The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive parsimonious royalties  The situation improved somewhat in March 1821 when Vogl performed the song "Erlkönig" (D  328) at a concert that was extremely well received  That month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being one of the fifty composers who contributed to the Vaterländischer Künstlerverein publication 

The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful  All in all, he embarked on twenty stage projects, each of them failures that were quickly forgotten  In 1822, Alfonso und Estrella was rejected, partly owing to its libretto (written by Schubert's friend Franz von Schober)  In 1823, Fierrabras (D 796) was rejected: Domenico Barbaia, impresario for the court theatres, largely lost interest in new German opera due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe  Die Verschworenen (The Conspirators, D 787) was prohibited by the censor (apparently because of its title), and Rosamunde, Fürstin von Zypern (D 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music Despite his operatic failures, Schubert's reputation was growing steadily on other fronts  In 1821, the Gesellschaft der Musikfreunde finally accepted him as a performing member, and the number of performances of his music grew remarkably  These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaft and established his name  Some of the members of the Gesellschaft, most notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and as a result of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821  In April, one of his male-voice quartets was performed, and in November, his Overture in E minor (D  648) received its first public performance; at a different concert on the same day as the premiere of the Overture, his song Der Wanderer (D  489) was performed In 1822, Schubert made the acquaintance of both Weber and Beethoven, but little came of it in either case; however, Beethoven is said to have acknowledged the younger man's gifts on a few occasions  On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would make a great sensation in the world," and regretted that he had not been more familiar with him earlier; he wished to see his operas and works for piano, but his severe illness prevented him from doing so 

Last years and masterworks
Despite his preoccupation with the stage, and later with his official duties, Schubert wrote much music during these years  He completed the Mass in A-flat major, (D  678) in 1822, and later that year embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the Symphony in B minor, known as the Unfinished Symphony (D  759)  The reason he left it unfinished – after writing two movements and sketches some way into a third – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving  In 1823, Schubert wrote his first large-scale song cycle, Die schöne Müllerin (D  795), setting poems by Wilhelm Müller  This series, together with the later cycle Winterreise (D  911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder  He also composed the song Du bist die Ruh' (You are rest and peace, D  776) during this year  Also in that year, symptoms of syphilis first appeared In 1824, he wrote the Variations in E minor for flute and piano; Trockne Blumen, a song from the cycle Die schöne Müllerin; and several string quartets  He also wrote the Sonata in A minor for arpeggione and piano (D  821) at the time when there was a minor craze over that instrument  In the spring of that year, he wrote the Octet in F major (D  803), a sketch for a "Grand Symphony," and in the summer went back to Zseliz  There he became attracted to Hungarian musical idiom and wrote the Divertissement à la hongroise in G minor for piano duet (D  818) and the String Quartet in A minor Rosamunde (D  804)  It has been said that he held a hopeless passion for his pupil, the Countess Caroline Esterházy, but the only work that bears a dedication to her is his Fantasia in F minor for piano duet (D  940)  This dedication, however, can only be found in the first edition and not in Schubert's autograph  His friend Eduard von Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:

The setbacks of previous years were compensated by the prosperity and happiness of 1825  Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in Upper Austria where he was welcomed with enthusiasm  It was during this tour that he produced the seven-song cycle Fräulein am See, based on Walter Scott's The Lady of the Lake, and including "Ellens Gesang III" ("Hymn to the Virgin") (D  839, Op  52, No  6); the lyrics of Adam Storck's German translation of the Scott poem are now frequently replaced by the full text of the traditional Roman Catholic prayer Hail Mary (Ave Maria in Latin), but for which the Schubert melody is not an original setting  The original only opens with the greeting "Ave Maria", which also recurs only in the refrain  In 1825, Schubert also wrote the Piano Sonata in A minor (D 845, first published as op  42), and began the Symphony in C major (Great C major, D  944), which was completed the following year 

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz, Austria, in 1827  In 1826, he dedicated a symphony (D  944, that later came to be known as the Great C major) to the Gesellschaft der Musikfreunde and received an honorarium in return  The String Quartet No  14 in D minor (D  810), with the variations on Death and the Maiden, was written during the winter of 1825–1826, and first played on 25 January 1826  Later in the year came the String Quartet No  15 in G major, (D 887, first published as op  161), the Rondo in B minor for violin and piano (D  895), Rondeau brillant, and the Piano Sonata in G major, (D 894, first published as Fantasie in G, op  78)  He also produced in 1826 three Shakespearian songs, of which "Ständchen" (D  889) and "An Sylvia" (D  891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening The works of his last two years reveal a composer entering a new professional and compositional stage  Although parts of Schubert's personality were influenced by his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music  The death of Beethoven affected Schubert deeply, and may have motivated Schubert to reach new artistic peaks  In 1827, Schubert wrote the song cycle Winterreise (D  911), the Fantasy in C major for violin and piano (D  934, first published as op  post  159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D  898), and the second in E-flat major, (D  929); in 1828 the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer, the Mass in E-flat major (D  950), the Tantum Ergo (D  962) in the same key, the String Quintet in C major (D  956), the second "Benedictus" to the Mass in C major (D  961), the three final piano sonatas (D  958, D  959, and D  960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano, also known as Schwanengesang (Swan-song, D  957)  (This collection – which includes settings of words by Heinrich Heine, Ludwig Rellstab, and Johann Gabriel Seidl – is not a true song cycle like Die schöne Müllerin or Winterreise ) The Great C major symphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is now generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828  The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, but never scheduled a public performance of it  The reasons continue to be unknown, although the difficulty of the symphony is the possible explanation  In the last weeks of his life, he began to sketch three movements for a new Symphony in D major (D 936A); In this work, he anticipates Mahler's use of folksong-like harmonics and bare soundscapes  Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter On 26 March 1828, the anniversary of Beethoven's death, Schubert gave, for the only time in his career, a public concert of his own works  The concert was a success popularly and financially, even though it would be overshadowed by Niccolò Paganini's first appearances in Vienna shortly after 

Final illness and death
In the midst of this creative activity, his health deteriorated  By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death  In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon  Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it)  At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting  He was generally unable to retain solid food and his condition worsened  Five days before Schubert's death, his friend the violinist Karl Holz and his string quartet visited to play for him  The last musical work he had wished to hear was Beethoven's String Quartet No  14 in C-sharp minor, Op  131; Holz commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing" Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand  The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis  Although there are accounts by his friends that indirectly imply that he was syphilitic, the symptoms of his final illness do not correspond with tertiary syphilis  Six weeks before his death, he walked 42 miles in three days, ruling out musculoskeletal syphilis  In the month of his death, he composed his last work, "Der Hirt Auf Den Felsen", making neurosyphilis unlikely  Finally, meningo-vascular syphilis is unlikely because it presents a progressive stroke-like picture, and Schubert had no neurological manifestation until his final delirium, which started only two days before his death  This, and the fact that his final illness was characterized by gastrointestinal symptoms (namely vomiting), led Robert L  Rold to argue that his final illness was a gastrointestinal one, like salmonella or indeed typhus  Eva M  Cybulska goes further and says that Schubert's syphilis is a conjecture  His multi-system signs and symptoms, she says, could point at a number of different illness such as leukaemia, anaemia, or Hashimoto's thyroiditis, and that many tell-tale signs of syphilis — chancre, mucous plaques, rash on the thorax, pupil abnormality, dysgraphia — were absent  She argues that the syphilis diagnosis originated with Schubert's biographer Otto Deutsch in 1907, based on the aforementioned indirect references by his friends, and uncritically repeated ever since It was near the grave of Beethoven, whom he had admired all his life, that Schubert was buried at his own request, in the village cemetery of Währing on the edge of the Vienna Woods  A year earlier he had served as a torchbearer at Beethoven's funeral 
In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark  In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms  Anton Bruckner was present at both exhumations, and he reached into both coffins and held the revered skulls in his hands  The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust  His epitaph, written by his friend, the poet Franz Grillparzer, reads: Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen ("The art of music has here interred a precious treasure, but yet far fairer hopes") 

Music
Schubert was remarkably prolific, writing over 1,500 works in his short career  His compositional style progressed rapidly throughout his short life  The largest number of his compositions are songs for solo voice and piano (roughly 630)  Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas  He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others  While he composed no concertos, he did write three concertante works for violin and orchestra  Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion, numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four hands  He also wrote over fifty chamber works, including some fragmentary works  Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions  He completed only eleven of his twenty stage works 

Style
In July 1947 the Austrian composer Ernst Krenek discussed Schubert's style, abashedly admitting that he had at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes     lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J  S  Bach or Beethoven"  Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composer Eduard Erdmann  Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition " Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional moulds; on the contrary he was a thinking artist with a keen appetite for experimentation "

Instrumental music, stage works and church music
That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works  Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of the String Quintet (D  956), which is in E major, features a central section in the distant key of F minor  It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D  821), or the unconventional scoring of the Trout Quintet (D  667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet 

Although Schubert was clearly influenced by the Classical sonata forms of Beethoven and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama  This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his Great C Major Symphony was described by Robert Schumann as running to "heavenly lengths" 

Lieder and art songs
It was in the genre of the Lied that Schubert made his most indelible mark  Leon Plantinga remarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him " Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism 

Among Schubert's treatments of the poetry of Goethe, his settings of "Gretchen am Spinnrade" (D  118) and "Der Erlkönig" (D  328) are particularly striking for their dramatic content, forward-looking uses of harmony, and use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in "Erlkönig"  He composed music using the poems of myriad poets, with Goethe, Mayrhofer, and Schiller the most frequent, and others, including Heinrich Heine, Friedrich Rückert, and Joseph Freiherr von Eichendorff  Of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative  His last collection of songs, published in 1828 after his death, Schwanengesang, is also an innovative contribution to German Lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl  The Wiener Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved" Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated     Schubert created a new epoch with the Lied     All other songwriters have followed in his footsteps "

Publication – catalogue
When Schubert died he had around 100 opus numbers published, mainly songs, chamber music and smaller piano compositions  Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published by Diabelli and dozens of first publications Peters), but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers  Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts  In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major Symphony (D  944) and took it back to Leipzig where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift  An important step towards the recovery of the neglected works was the journey to Vienna which the music historian George Grove and the composer Arthur Sullivan made in October 1867  The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music to Rosamunde, the Mass No  1 in F major (D  105), and the operas Des Teufels Lustschloss (D  84), Fernardo (D  220), Der vierjährige Posten (D  190), and Die Freunde von Salamanka (D  326), and several other unnamed works  With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, the Rosamunde incidental music, and the overture to Die Freunde von Salamanka  This led to more widespread public interest in Schubert's work 

Complete editions
From 1884 to 1897, Breitkopf & Härtel published Franz Schubert's Works, a critical edition including a contribution made – among others – by Johannes Brahms, editor of the first series containing eight symphonies  The publication of the Neue Schubert-Ausgabe by Bärenreiter started in the second half of the 20th century 

Deutsch catalogue
Since relatively few of Schubert's works were published in his lifetime, only a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition  Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works  This was first published in English in 1951 (Schubert Thematic Catalogue) and subsequently revised for a new edition in German in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge – Franz Schubert: Thematic Catalogue of his Works in Chronological Order) 

Numbering issues
Confusion arose quite early over the numbering of Schubert's late symphonies  Schubert's last completed symphony, the Great C major D 944, was assigned the numbers 7, 8, 9 and 10, depending on publication  Similarly the Unfinished D 759 has been indicated with the numbers 7, 8, and 9 The order usually followed for these late symphonies by English-language sources is:

No  7: E major, D 729
No  8: B minor, D 759 Unfinished
No  9: C major, D 944 Great C major
No  10: D major, D 936AAn even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas 

Instruments
Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at the Schubert Geburtshaus in Vienna) and an Anton Walter & Sohn piano (today in the collection of the Vienna Kunsthistorisches Museum)  Schubert was also familiar with instruments by Viennese piano builder Conrad Graf 

Recognition
A feeling of regret for the loss of potential masterpieces caused by Schubert's early death at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Here music has buried a treasure, but even fairer hopes " Some prominent musicians share a similar view, including the pianist Radu Lupu, who said: "[Schubert] is the composer for whom I am really most sorry that he died so young      Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a little more about counterpoint, and he was perfectly right  We'll never know in what direction he was going or would have gone " However, others have expressed disagreement with this early view  For instance, Robert Schumann said: "It is pointless to guess at what more [Schubert] might have achieved  He did enough; and let them be honoured who have striven and accomplished as he did", and the pianist András Schiff said that: "Schubert lived a very short life, but it was a very concentrated life  In 31 years, he lived more than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years  It's irrelevant, just like with Mozart; these are the two natural geniuses of music "

The Wiener Schubertbund, one of Vienna's leading choral societies, was founded in 1863, whilst the Gründerzeit was taking place  The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of the Panic of 1873  In 1872, the dedication of the Schubert Denkmal, a gift to the city from Vienna's leading male chorus, the Wiener Männergesang-Verein, took place; the chorus performed at the event  The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna's Stadtpark 
Schubert's chamber music continues to be popular  In a survey conducted by the ABC Classic FM radio station in 2008, Schubert's chamber works dominated the field, with the Trout Quintet ranked first, the String Quintet in C major ranked second, and the Notturno in E-flat major for piano trio ranked third  Furthermore, eight more of his chamber works were among the 100 ranked pieces: both piano trios, the String Quartet No  14 (Death and the Maiden), the String Quartet No  15, the Arpeggione Sonata, the Octet, the Fantasie in F minor for piano four-hands, and the Adagio and Rondo Concertante for piano quartet 
The New York Times' chief music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius  For his hundreds of songs alone – including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life    Schubert's first few symphonies may be works in progress  But the Unfinished and especially the Great C major Symphony are astonishing  The latter one paves the way for Bruckner and prefigures Mahler 

Tributes by other musicians
From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert's works, particularly the songs  Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived " Schubert's symphonies were of particular interest to Antonín Dvořák  Hector Berlioz and Anton Bruckner acknowledged the influence of the Great C Major Symphony  It was Robert Schumann who, having seen the manuscript of the Great C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who led the first performance of the symphony, in a heavily abridged version, in Leipzig in 1839 In the 20th century, composers such as Richard Strauss, Anton Webern, Benjamin Britten, George Crumb, and Hans Zender championed or paid homage to Schubert in some of their works  Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works  German electronic music group Kraftwerk has a track titled Franz Schubert on their 1977 album Trans-Europe Express 

Commemorations
In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music  In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognising Schubert as the creator of the art song, and one of Austria's favourite sons Karlsruhe saw the first production of his opera Fierrabras In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer's death  Works by Schubert were performed in churches, in concert halls, and on radio stations  A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory"  The winning entry was Kurt Atterberg's sixth symphony 

In film and television
Schubert has featured as a character in several films including Schubert's Dream of Spring (1931), Gently My Songs Entreat (1933), Serenade (1940), The Great Awakening (1941), It's Only Love (1947), Franz Schubert (1953), Das Dreimäderlhaus (1958), and Mit meinen heißen Tränen (1986)  Schubert's music has also been featured in numerous post-silent era films, including Walt Disney's Fantasia (1940), which features Ave Maria (D  839); and the biographical film Carrington (1995), which features the second movement of the String Quintet in C major (D  956), as well as the English version of The Adventures of Milo and Otis (1989), which features Serenade and Auf dem Wasser zu singen (D  774) 
Schubert's String Quartet No  15 in G is featured prominently in the Woody Allen film Crimes and Misdemeanors (1989)  The Piano Quintet in A major, D  667 (Trout Quintet) is featured in the 2011 film Sherlock Holmes: A Game of Shadows by Guy Ritchie  The music of the String Quartet No  14 in D minor, "Death and the Maiden", is often used to accompany documentaries or films, notably the 1994 film of that name by Roman Polanski   The second movement from the Piano Trio No  2 in E-Flat Major, Op  100/D 929, was featured in Stanley Kubrick's 1975 film Barry Lyndon 
Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Love and the Greatest Sorrow by Christopher Nupen (1994), and in the documentary Schubert – The Wanderer by András Schiff and Mischa Scorer (1997), both produced for the BBC  "Great Performances," "Now Hear This: The Schubert Generation Series," hosted by Scott Yoo, explored commentary and performances by contemporary musician admirers 

Footnotes
Passage 6:
Michelangelo Faggioli
Michelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect  A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706 
Passage 7:
Tarcisio Fusco
Tarcisio Fusco was an Italian composer of film scores  He was the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco 

Selected filmography
Boccaccio (1940)
Free Escape (1951)
Abracadabra (1952)
The Eternal Chain (1952)
Beauties in Capri (1952)
Milanese in Naples (1954)
Conspiracy of the Borgias (1959)
Passage 8:
Alexander Courage
Alexander Mair Courage Jr  (December 10, 1919 – May 15, 2008) familiarly known as "Sandy" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film  He is best known as the composer of the theme music for the original Star Trek series 

Early life
Courage was born in Philadelphia, Pennsylvania  He received a music degree from the Eastman School of Music in Rochester, New York, in 1941  He served in the United States Army Air Forces in the western United States during the Second World War  During that period, he also found the time to compose music for the radio  His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance 

Career
Courage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat ("Life Upon the Wicked Stage" number); Hot Rod Rumble (1957 film); The Band Wagon ("I Guess I'll Have to Change My Plan"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers 
He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, "The Circus is a Wacky World", and "You're Gonna Hear from Me" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al )   He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967) Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963)  He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film  Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary 
Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea  Judd, for the Defense, Young Dr  Kildare and The Brothers Brannagan were the only television series besides Star Trek for which he composed the main theme 
The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music  In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound of Christmas   In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film "The Edge "
Courage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra 

Family
At the age of 35, Courage married Mareile Beate Odlum on October 6, 1955 
Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt  After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe  Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe  After arriving in the US he changed his last name to Hulbeck 
Mareile's marriage to Courage was her third  Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944  That union produced two sons, Christopher (1947) and Brian (1949)  When Courage married Mareile he accepted the responsibility of acting stepfather to them  The family originally lived together on Erskine Dr  in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills 
Aside from his musical abilities Courage was also an avid and accomplished photographer  He took many dramatic photos of bullfights and auto racing  He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends  Moss paid at least one social visit to the Erskine residence 
Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities  He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone  Later in life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student 
Alexander and Mareile were divorced April 1, 1963  Courage subsequently married Kristin M  Zethren on July 14, 1967  That marriage also ended in divorce in 1972 

Star Trek theme
Courage is best known for writing the theme music for the original Star Trek series, and other music for that series  Courage was hired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job   
Courage went on to score incidental music for episodes "The Man Trap" and "The Naked Time" and some cues for "Mudd's Women "
Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties  Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer  Courage was replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season  
After sound editors had difficulty finding the right effect, Courage himself made the iconic "whoosh" sound heard while the Enterprise flies across the screen He returned to Star Trek to score two more episodes for the show's third and final season, episodes "The Enterprise Incident" and "Plato's Stepchildren," allegedly as a courtesy to Producer Robert Justman 
Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestrated Goldsmith's adaptation of his original Star Trek theme 
Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme became one of the franchise's most famous and memorable musical cues  The fanfare has been used in multiple motion pictures and television series,  notably Star Trek: The Next Generation and the four feature films based upon that series, three of which were scored by Goldsmith 

Death
Courage had been in declining health for several years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades, California  He had suffered a series of strokes prior to his death  His mausoleum is in Westwood Village Memorial Park Cemetery 
Passage 9:
Gretchen am Spinnrade
"Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op  2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust  With "Gretchen am Spinnrade" and some 600 other songs for voice and piano, Schubert contributed transformatively to the genre of Lied  "Gretchen am Spinnrade" was composed for soprano voice but has been transposed to accommodate other voice types  Schubert composed "Gretchen am Spinnrade" on 19 October 1814, three months before his eighteenth birthday 

German text
Analysis
The song is in three sections, exactly reflecting the form of Goethe's poem  On the other hand, Schubert contradicts Gretchen's return to composure in the last three stanzas by obsessively repeating her words to create a second climax on the highest note of the song The song opens with Gretchen at her spinning wheel, thinking of Faust and all that he had promised  The accompaniment in the right hand mimics the perpetual movement of the spinning-wheel and the left hand imitates the foot treadle  The initial key of D minor sets a longing tone as Gretchen begins to sing of her heartache ("Meine Ruh' ist hin/Mein herz ist schwer")  The first section progresses from D minor to C major, A minor, E minor, F major, and then returns to D minor  This, plus the crescendo, builds tension which releases only to be brought back to the beginning, much like the ever-circling spinning wheel  The song modulates to F major as Gretchen starts talking of Faust ("Sein hoher Gang/Sein' edle Gestalt")  The left-hand imitation of the treadle disappears and changes to block chords  Additionally, the absence of the rhythmic, consistent treadle allows Gretchen to lose her sense of stability and reality as she swoons over Faust  This section increases tension with a faster tempo, louder dynamics, and higher pitch in the soprano and peaks at Gretchen's remembrance of Faust's kiss ("Und ach, sein Kuß!")  Similar to the previous section, the music returns to the home key of D minor as Gretchen resumes reality and begins her spinning once more  The third part begins again with "Meine Ruh' ist hin/Mein herz ist schwer," but this time Gretchen escalates in intensity much faster than the previous sections  However, the treadle-like left hand is present, keeping her rooted in reality  Gretchen comes down from this fantasy quicker than before, as she realizes she and Faust will never be together  With a heavy heart, Gretchen comes to terms with this hard truth  The song ends as it began: in D minor, alluding to the monotony of the spinning wheel, and how reality is always present 

Notable recordings
Notable recordings include those by

Elly Ameling and Jörg Demus
Elly Ameling and Dalton Baldwin
Barbara Bonney and Geoffrey Parsons
Janet Baker and Gerald Moore 
Anne Sofie von Otter, Schubert Lieder with Orchestra, CD, accompanied by the Chamber Orchestra of Europe led by Claudio Abbado Other notable recordings include those by Kathleen Ferrier, Renée Fleming, Brigitte Fassbaender, Janet Baker, Kiri Te Kanawa, Dawn Upshaw, Christa Ludwig, Gundula Janowitz, Jessye Norman, Irmgard Seefried, Elisabeth Schumann, Lotte Lehmann, Rosette Anday, and Elisabeth Schwarzkopf  Nina Hagen, titled "Gretchen" on her 1991 album Street is an interesting electronic adaptation 
Passage 10:
Petrus de Domarto
Petrus de Domarto (fl  c  1445–1455) was a Franco-Flemish composer of the Renaissance   He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to be written in continental Europe 

Life
Domarto's life is poorly documented   He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence he was in Tournai in 1451   He had a high reputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis)   No other documentation on his life has yet come to light 

Music and reputation
Domarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time   The latter of the two may have been one of the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power   The Missa Spiritus almus, likely dating from the 1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece   The procedure was evidently influential on the next generation of composers, for it was still being copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum)  The theorist and writer Johannes Tinctoris criticised it for exactly the features that inspired other composers 
The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School 

Works
Masses
Missa Spiritus almus (four voices)
Missa sine nomine (three voices)

Secular
Rondeaux, each for three voices:

Chelui qui est tant plain de duel
Je vis tous jours en esperance

Notes



ground_truth: London Melody

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Are both villages, Rhosgoch and Qaleh-Ye Sahar, located in the same country?

The following are given passages.
Context 2: The first tornado of the record-breaking 1981 United Kingdom tornado outbreak, an F1/T2 tornado, touched down close to Rhosgoch at around 10:19 local time on 23 November 1981 
Passage 3:
Khosrow, Andika
Khosrow (Persian: خسرو) is a village in Qaleh-ye Khvajeh Rural District, in the Central District of Andika County, Khuzestan Province, Iran  At the 2006 census, its population was 70, in 13 families 
Passage 4:
Qaleh-ye Sahar
Qaleh-ye Sahar (Persian: قلعه سحر, also Romanized as Qal‘eh-ye Saḩar and Qal‘eh Sahar; also known as Qal‘eh-ye Saḩar Alhā’ī) is a village in Elhayi Rural District, in the Central District of Ahvaz County, Khuzestan Province, Iran  At the 2006 census, its population was 801, in 129 families 
Passage 5:
Qaleh-ye Askar
Qaleh-ye Askar or Qaleh Askar (Persian: قلعه عسكر), also rendered as Qaleh-ye Asgar and Qaleh Asgar may refer to:

Qaleh-ye Askar, Bam
Qaleh Askar, Bardsir
Qaleh Asgar Rural District
Passage 6:
Gohar, Iran
Gohar (Persian: گهر) is a village in Qaleh-ye Khvajeh Rural District, in the Central District of Andika County, Khuzestan Province, Iran  At the 2006 census, its population was 85, in 11 families 
Passage 7:
Qaleh-ye Zaras
Qaleh-ye Zaras (Persian: قلعه زراس, also Romanized as Qal‘eh-ye Zarās, Qal‘eh Zarās, and Qal‘eh Zarrās; also known as Ghal’eh Zaras) is a village in Qaleh-ye Khvajeh Rural District, in the Central District of Andika County, Khuzestan Province, Iran  At the 2006 census, its population was 291, in 49 families 
Passage 8:
Qaleh-ye Pain
Qaleh-ye Pain (Persian: قلعه پائين) may refer to:

Qaleh-ye Pain, Bavanat
Qaleh-ye Pain, Marvdasht
Qaleh-ye Pain Baram
Qaleh-ye Pain Deh Shah
Passage 9:
Qaleh-ye Bakhtiar
Qaleh-ye Bakhtiar or Qaleh-ye Bakhteyar (Persian: قلعه بختيار) may refer to:

Qaleh-ye Bakhtiar, Chaharmahal and Bakhtiari
Qaleh-ye Bakhtiar, Hamadan
Passage 10:
Qaleh-ye Nashin Shahi
Qaleh-ye Nashin Shahi (Persian: قلعه نشين شاهي, also Romanized as Qalʿeh Nashīn Shāhī; also known as Qaleh-ye Shinshahi) is a village in Shurab Rural District, Veysian District, Dowreh County, Lorestan Province, Iran  At the 2006 census, its population was 72, in 14 families 



ground_truth: no

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where was the place of death of the composer of song Gretchen Am Spinnrade?

The following are given passages.
Context 4:   ISBN 9780190469900
Quaresima, Leonard, editor  Walter Ruttmann: Cinema, pittura, ars acustica  Calliano (Trento), Italy: Manfrini, 1994  ISBN 9788870245035
Passage 5:
Melody of Death
Melody of Death is a 1922 British silent crime film directed by Floyd Martin Thornton and starring Philip Anthony, Enid R  Reed and Dick Sutherd  It is an adaptation of the 1915 novel The Melody of Death by Edgar Wallace 

Cast
Philip Anthony as Gilbert Standerton
Enid R  Reed as Enid Cathcart
Dick Sutherd as George Wallis
H  Agar Lyons as Sir John Standerton
Frank Petley
Hetta Bartlett as Mrs Cathcart
Bob Vallis
Passage 6:
H  Bruce Humberstone
H  Bruce "Lucky" Humberstone (November 18, 1901 – October 11, 1984) was an American film director  He was previously a movie actor (as a child), a script clerk, and an assistant director, working with directors such as King Vidor, Edmund Goulding, and Allan Dwan 

Early years
Humberstone was born in Buffalo, New York, and attended Miami Military Academy in Miami, Florida 

Film
One of 28 founders of the Directors Guild of America, Humberstone worked on several silent movie films for 20th Century Fox  Humberstone did not specialize; he worked on comedies, dramas, and melodramas  Humberstone is best known today for the seminal film noir I Wake Up Screaming (1941) and his work on some of the Charlie Chan films  In the 1950s, Humberstone worked mostly on TV  He retired in 1966 

Recognition
Humberstone has a star on the Hollywood Walk of Fame 

Death
Humberstone died of pneumonia in Woodland Hills, California, on October 11, 1984, aged 82, and was buried at the Hollywood Forever Cemetery in Hollywood, California 

Partial filmography as director
Passage 7:
Ladies Love Danger
Ladies Love Danger is a 1935 American comedy film directed by H  Bruce Humberstone and written by Samson Raphaelson, Robert Ellis and Helen Logan  The film stars Mona Barrie, Gilbert Roland, Donald Cook, Adrienne Ames, Hardie Albright and Herbert Mundin  The film was released on May 3, 1935, by Fox Film Corporation 

Plot
Cast
Passage 8:
Abhishek Saxena
Abhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu  The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role  Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film  This film was screened in cinemas in 2014 

Life and background
Abhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena  Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014  His mother's name is Gurpreet Kaur Saxena 
Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June 2017 

Career
Abhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad  He made his first directed film Patiala Dreamz, this is a Punjabi movie After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017  Saxena is now making his upcoming movie "India Gate" 
In 2018 Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta 
 Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut  Talking about the film, director Abhishek Saxena told Mumbai Mirror, "As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people  The idea germinated from there "
Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus 
In addition to these serials, he played the role of assistant director in the movie "Girgit" which was made in Telugu language 

Filmography
As Director
Passage 9:
Brian Kennedy (gallery director)
Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States   He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020  He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019  He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004 

Career
Brian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College  In October 2010 he became the ninth Director of the Toledo Museum of Art  On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum 

Early life and career in Ireland
Kennedy was born in Dublin and attended Clonkeen College  He received B A  (1982), M A  (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history 
He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89)  He married Mary Fiona Carlin in 1988 He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997  He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003  In September 1997 he became Director of the National Gallery of Australia 

National Gallery of Australia (NGA)
Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site   Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing "blockbuster" exhibitions 
During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship  However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds   As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later   Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001  Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive  He was also notable for campaigning for the construction of a new "front" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above) 
Kennedy's cancellation of the "Sensation exhibition" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship  He claimed that the decision was due to the exhibition being "too close to the market" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor  However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns  The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn  Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous  The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was "Catholic-bashing" and an "aggressive, vicious, disgusting attack on religion " In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had "obscured discussion of the artistic merit of the works of art"  He has said that it "was the toughest decision of my professional life, so far "Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system  The air-conditioning was finally renovated in 2003  Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors He became a joint Irish-Australian citizen in 2003 

Toledo Museum of Art
The Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke  The museum offers free admission and is recognized for its historical leadership in the field of art education   During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as "learning to read, understand and write visual language "   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www vislit org  In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so  Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy 
Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples  Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired   In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum   In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015 

Hood Museum of Art
Kennedy became Director of the Hood Museum of Art in July 2005  During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions  At 70,000 objects, the Hood has one of the largest collections on any American college of university campus  The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues  Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually  Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons 

Publications
Kennedy has written or edited a number of books on art, including:

Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9
Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7
Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0
The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4
Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3
Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7
Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3
Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8

Honors and achievements
Kennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art  He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics  In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University  Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education 


== Notes ==
Passage 10:
Melody of the World
Melody of the World (German: Melodie der Welt) is a 1929 German film directed by Walter Ruttmann  It is also known as World Melody  The film is structured like a symphony and consists of documentary footage from all over the world, contrasted and juxtaposed to show a number of human activities as they take form in different cultures  There are also staged scenes with actors 
The film was produced by Tonbild-Syndikat AG as an assignment from Hapag  It has an original score by Wolfgang Zeller  It was advertised as Germany's first feature-length sound film 

Cast
Ivan Koval-Samborskij as sailor
Renée Stobrawa as sailor's wife
Grace Chiang as Japanese woman
O  Idris as Malayan temple dancer
Wilhelm Cuno as general director of Hapag

Release
The world premiere took place on 27 July 1929 at the Deutsches Kammermusikfest in Baden-Baden  The film was released in regular German cinemas on 10 May 1930, distributed by Deutsches Lichtspiel-Syndikat AG 

See also
List of early sound feature films (1926–1929)



ground_truth: Vienna