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 directors of films La Morte Vivante and Stranger On Horseback from the same country?

The following are given passages.
Context 1: Passage 1:
Stranger on Horseback
Stranger on Horseback is a 1955 American Anscocolor Western film directed by Jacques Tourneur and starring Joel McCrea  The screenplay is based on a story by Louis L'Amour  It was filmed in and around Sedona, Arizona 

Plot
Rick Thorne, a circuit judge, rides into Bannerman and discovers everything in town is controlled by rich rancher Josiah Bannerman and his kin  He meets sheriff Nat Bell and district attorney Buck Streeter and asks why Bannerman's arrogant son, Tom, got away with killing a man without an arrest or trial 
Offered no assistance, Thorne stands up to Tom and then jails him  He becomes acquainted with Bannerman's beautiful niece, Amy Lee, who is attracted to Thorne but doubts her cousin Tom is a cold-blooded killer 
Thorne finds allies in Caroline and Vince Webb, who own a gun shop and are willing to testify with evidence against Tom in court  Thorne realizes he needs to sneak Tom and the Webbs to a different town if he's to get a fair trial  Bannerman and his men pursue them, and Amy Lee watches as Tom deliberately causes Vince Webb's death  In time, Thorne gets the prisoner to the next town safely, and Amy Lee goes to court to back him up 

Cast
Joel McCrea as Judge Richard 'Rick' Thorne
Miroslava as Amy Lee Bannerman
Kevin McCarthy as Tom Bannerman
John McIntire as Josiah Bannerman
John Carradine as Col  Buck Streeter
Nancy Gates as Caroline Webb
Emile Meyer as Sheriff Nat Bell
Robert Cornthwaite as Arnold Hammer
Jaclynne Greene as Paula Morrison
Walter Baldwin as Vince Webb
Emmett Lynn as Barfly
Roy Roberts as Sam Kettering
George Keymas as Bannerman's Henchman
Lane Bradford as Kettering Henchman (uncredited)
Dabbs Greer as Hotel Clerk (uncredited)
Frank Hagney as Bartender (uncredited)

See also
List of American films of 1955
Passage 2:
La Morte Vivante
La Morte Vivante (English: The Living Dead Girl) is a 1982 French horror-drama film directed by Jean Rollin and starring Marina Pierro, Francoise Blanchard, Mike Marshall, Carina Barone, Fanny Magier, Patricia Besnard-Rousseau and Sam Selsky  The story involves a young woman who has returned from the dead and needs human blood in order to survive 

Plot
Two men break into an old crypt, seeking to dump toxic waste and rob the graves  When an earthquake causes the toxic waste to spill, Catherine Valmont, a young woman who died several years ago, is resurrected  She viciously kills the thieves and drinks their blood  As Catherine walks aimlessly through a field, Barbara spots her and takes a few photos, though Barbara's boyfriend, Greg, takes no notice  Catherine returns to her old house, the Valmont Mansion, and memories of her childhood come back to her, especially her childhood friend, Hélène  As Catherine wanders the house, a real estate agent shows an old couple around the property, though they show little interest  After they leave, Hélène calls the house, presumably inquiring about it  However, she hears nothing but a cherished music box, leading her to believe that Catherine may still be alive 
The agent later returns to the Valmont Mansion, along with her boyfriend  Catherine interrupts them having sex, killing both and drinking their blood  Hélène arrives and is shocked to discover the dead bodies  When she finds Catherine, naked and playing the piano, she assumes that Catherine didn't really die but was actually hidden for the past two years  Hélène washes the blood off Catherine, puts her to bed, and drags the bodies down to the crypt, where she discovers the bodies of the grave robbers  Catherine creeps down and begins to drink the blood from one of the bodies, but Hélène stops her  Hélène cuts her arm and lets Catherine drink her blood, until she can think of a way to supply her friend with blood 
Barbara goes around the village asking about the woman in her photograph, but the answer is always the same: It is Catherine Valmont, and she died two years ago  Greg thinks Barbara is making too much of it, and discourages her from investigating further  Meanwhile, Hélène tries to understand what is happening to Catherine, trying to teach her to speak again  Deciding to bring her victims, Hélène pretends to be out of fuel and flags down a helpful motorist, drawing her back to the mansion  Hélène offers the woman a drink and locks her in  The woman soon begins to panic, but Hélène throws her in the crypt, where Catherine grabs her and rips her stomach out  Soon after, Barbara shows up at the Valmont mansion, seeking Catherine  Unsettled by Catherine's behavior, she attempts to phone Greg, but Hélène confronts her  They argue, and Hélène tries to take Barbara's camera  Barbara flees 
Catherine, now more in touch with her humanity, realizes that she must be destroyed  She begs Hélène to kill her, but Hélène instead goes back to the village, to bring Catherine another victim  Barbara sees Hélène and eventually convinces Greg to accompany her to the mansion, in order to help Catherine  Hélène tortures the kidnapped girl, but Catherine rejects the unwilling sacrifice and frees her, telling her to return to the village and seek help  Drawn by the screams, Barbara and Greg go to investigate, but they are brutally murdered by Hélène  Overwhelmed by all the death and murder, Catherine attempts suicide, but she is rescued by Hélène, who offers herself to sate Catherine's hunger  Unable to resist, Catherine devours her friend alive 

Cast
Marina Pierro as Hélène
Françoise Blanchard as Catherine Valmont ("The Living Dead Girl")
Mike Marshall as Greg
Carina Barone as Barbara Simon
Fanny Magiere as 6th Victim (as Fanny Magieri)
Patricia Besnard-Rousseau
Véronique Pinson (as Veronique Pinson)
Sandrine Morel as Teenage Catherine Valmont
Sam Selsky as Old American man in the house of Catherine

Production
Rollin originally sought Italian actress Teresa Ann Savoy for the title role, but when she met him, Savoy said she would never work with Rollin under any circumstances  Instead, Blanchard was cast  She found the shooting to be physically exhausting and collapsed on the set  Blanchard's performance in the ending scene in which Catherine devours Hélène and descends into madness was so believable that the crew were worried for her mental state, thinking that she had in fact gone mad 
Rollin met Pierro at the Sitges Film Festival, casting her for her strong personality, but finding her vain 

Release
The original release was 25 August 1982  Alternate titles included The Living Dead Girl, Lady Dracula, Queen Zombie and Scare: Dead or Alive 

Censorship
La morte vivante was banned in Germany in 1986 for its explicit scenes of violence and gore  The film was released direct-to-video in the United Kingdom in 1994; however, most of these scenes were removed or shortened by the BBFC in order for the film to pass with an 18 certificate  A scene in which Catherine impales a woman's throat which her sharp fingernail was edited; one in which a female victim is disemboweled by Catherine was slightly cut to remove some of the prolonged gore; a scene in which Hélène slashes at a teenage girl's navel area was completely removed; the ending scene where Catherine eats Hélène alive was somewhat trimmed down; and the shot where Hélène's thumb is bitten off was cut  Some of these scenes were waived for the 2000 release, which also premiered on UK television for the first time in 2005 when it was screened on The Horror Channel  The film was eventually passed uncut in the UK in 2007 

Reception
Bloody Disgusting rated the Blu-ray release 3 out of 5, saying that the film has plenty of flaws but is worth watching 

Home media
In the United States, La morte vivante was initially released on DVD in an edited version on 9 November 1999, and was available in a "Widescreen Edition" via Image Entertainment and Redemption  It was re-released on DVD, complete and uncut for the first time, on 25 October 2010 by Redemption  Kino Lorber and Redemption released a Blu-ray version, as well as a remastered DVD on 7 August 2012, featuring an intro by Rollin, several featurettes and interviews, and a 12-page booklet In the United Kingdom, the film was first made available on VHS format in a direct-to-video release in 1994  It was issued on DVD on 2 May 2000, followed by a reissued VHS version on 8 May 2000  The DVD contained a cropped 4:3 aspect ratio, which was a transfer from the original video release and reversible cover artwork  Redemption released two subsequent DVD editions in the UK, the first on 3 September 2007, presenting the film complete and uncensored for the first time  The second was released on 18 May 2015, containing newly commissioned artwork La morte vivante, under the title The Living Dead Girl, received a Blu-ray release in the UK in 2018  Released by Black House Films, this version of the film has a 1:78:1 aspect ratio 
The complete uncut version was released by Encore in Europe on 30 November 2005 in a 2-DVD set with a new aspect ratio of 16:9/1 78:1  The special features included introductions by Blanchard (in French with English subtitles) and Rollin, selected scenes commentary by Blanchard (in French with English subtitles), a bonus soundtrack CD, a 64-page essay booklet, and interviews (all in French with English subtitles) with Blanchard, Jean-Pierre Bouyxou and composer Philippe d'Aram 
Passage 3:
La Morte
La Morte (French pronunciation: ​[la mɔʁt]) is a commune in the Isère department in southeastern France 

Population
See also
Communes of the Isère department
Passage 4:
Jacques Tourneur
Jacques Tourneur (French: [tuʁnœʁ]; November 12, 1904 – December 19, 1977) was a French film director known for the classic film noir Out of the Past and a series of low-budget horror films he made for RKO Radio Pictures by Val Lewton, including Cat People, I Walked with a Zombie, and The Leopard Man  He is also known for directing Night of the Demon, which was released by Columbia Pictures  While in Hollywood, he was usually addressed by his anglicized name "Jack Turner", a literal and phonetic translation of his name in English 

Life
Born in Paris, France, Tourneur was the son of Fernande Petit and film director Maurice Tourneur  At age 10, Jacques moved to the United States with his father  He started a career in cinema while still attending high school as an extra and later as a script clerk in various silent films  Both Maurice and Jacques returned to France after his father worked on the film The Mysterious Island in 1925  Tourneur died in 1977, aged 73, in Bergerac, Dordogne, France 

Career
Tourneur began work as an editor and assistant director  He made his debut as a director on the French film Tout ça ne vaut pas l'amour in 1931  Tourneur went to Hollywood in 1934 where he had a contract with MGM Studios  While working as the second unit director on the film A Tale of Two Cities he met film producer Val Lewton Tourneur made his feature debut as director in the 1939 film They All Come Out  After Tourneur was dropped by MGM in 1941, he was picked up by Lewton to film several acclaimed low-budget horror films for RKO Studios including Cat People and I Walked with a Zombie Cat People, although considered a B movie and made on a limited budget, was distinguished by a style of lighting and cinematography that has been imitated countless times  Tourneur was promoted to the A-list at RKO, directing films including Out of the Past and Berlin Express  In the 1950s, Tourneur became a freelance director, filming various genre films including Wichita, Anne of the Indies, Way of a Gaucho, Nightfall, The Flame and the Arrow, Stars In My Crown and Night of the Demon  His last two films, made for American International Pictures and starring Vincent Price, were The Comedy of Terrors (1963) and War-Gods of the Deep (1965) After his final days working for film, Tourneur began directing television episodes  Tourneur filmed episodes of The Barbara Stanwyck Show, Bonanza, The Twilight Zone, and The Alaskans  Tourneur's final director credit was for an episode of T H E  Cat in 1966  Tourneur then retired and returned to France 

Filmography
Director
Feature films

Short films

TV
1955-1961 : General Electric Theater, 4 episodes
1955 : The Martyr
1955 : Into the Night
1960 : Aftermath
1961 : Star Witness: The Lili Parrish Story
1956 : Fireside Theater, 3 episodes
1956 : A Hero Returns
1956 : Kirsti
1956 : The Mirror
1957 : Schlitz Playhouse of Stars, 1 episode
1957 : Outlaw's Boots
1957 : The Walter Winchell File, 3 episodes
1957 : The Steep Hill
1958 : House on Biscayne Bay
1958 : The Stopover
1958 : Cool and Lam, CBS Productions
1958 : Northwest Passage, 8 episodes
1958 : The Gunsmith
1958 : The Burning Village
1958 : The Bond Women
1959 : The Break Out
1959 : The Vulture
1959 : The Traitor
1959 : The Assassin
1959 : The Hostage
1959 : Bonanza, 1 episode
1960 : Denver McKee
1959 : The Alaskans, 1 episode
1960 : The Devil Makers
1960 : The Barbara Stanwyck Show, 11 episodes
1960 : The Mink Coat
1960 : Ironbark's Bridge
1960 : The Miraculous Journey of Tadpole Chan
1961 : Frightened Doll
1961 : The Choice
1961 : Sign of the Zodiac
1961 : Adventure on Happiness Street
1961 : The Golden Acres
1961 : Confession
1961 : Dragon by the Tail
1961 : Dear Charlie
1962 : Adventures in Paradise, 1 episode
1962 : A Bride for the Captain
1962 : Follow the Sun, 1 episode
Sergeant Kolchak Fades Away
1963 : The Twilight Zone, 1 episode
1963 : Night Call
1966 : T H E  Cat, 1 episode
1966 : The Ring of Anasis

Assistant director or editor
1929 : Le Navire des hommes perdus (Das schiff der verlorenen menschen), directed by Maurice Tourneur
1930 : Accusée, Levez vous, directed by Maurice Tourneur
1931 : Maison de danses, directed by Maurice Tourneur
1931 : Partir, directed by Maurice Tourneur
1932 : Au nom de la Loi, directed by Maurice Tourneur
1932 : Les Gaités de l'escadron, directed by Maurice Tourneur (Editor)
1933 : Les Deux Orphelines, directed by Maurice Tourneur (Editor)
1993 : Lidoire, directed by Maurice Tourneur 
1933 : Obsession, directed by Maurice Tourneur (uncredited)
1933 : La Fusée, directed by Jacques Natanson (Editor)
1933 : Le Voleur, directed by Maurice Tourneur
1934 : Rothchild, directed by Maurice Tourneur (Editor)
1935 : A Tale of Two Cities, directed by Jack Conway, war sequences, (séquence de la prise de la Bastille) 

Posterity
La Mort en direct (1980), film by Bertrand Tavernier is dedicated to deceased film director Jacques Tourneur
”There are films that watch us grow old ” Serge Daney  Quoted by Serge Le Péron in (Jacques Tourneur Le Médium), film by Alain Mazars, 2015  
By naming the main character Jessica Holland in his film Memoria (2021),  Apichatpong Weerasethakul pays tribute to Jacques Tourneur’s film I Walked with a Zombie 
Passage 5:
Jean Rollin
Jean Michel Rollin Roth Le Gentil (French: [ʒɑ̃ mˈɪt‍ʃə‍l ɹˈə‍ʊlɪn lˈə d‍ʒˈɛnt]; 3 November 1938 – 15 December 2010) was a French film director, actor, and novelist best known for his work in the fantastique genre 
Rollin's career, spanning over fifty years, featured early short films and his achievements with his first four vampire classics Le viol du vampire (1968), La vampire nue (1970), Le frisson des vampires (1970), and Requiem pour un vampire (1971)  Rollin's subsequent notable works include La rose de fer (1973), Lèvres de sang (1975), Les raisins de la mort (1978), Fascination (1979), and La morte vivante (1982) His films are noted for their exquisite, if mostly static, cinematography, off-kilter plot progression, poetic dialogue, playful surrealism and recurrent use of well-constructed female lead characters  Outlandish dénouements and abstruse visual symbols were trademarks  Belied by high production values and precise craftsmanship, his films were made with little money, often against deadlines  In the mid-1970s, lack of regular work led the director to direct mostly pornographic films under various pseudonyms, an activity he continued until the early 1980s 

Early life
Jean Rollin was born in Neuilly-sur-Seine (now Hauts-de-Seine), France, to Claude Louis René Rollin-Roth-Le Gentil, an actor and theatre director who went by the stage name Claude Martin, and his wife Denise (née Leffroi), an artists' model  His half-brother was actor Olivier Rollin 

Career
Rollin had a passion for cinema from an early age   He saw his first film during the second World War  It was Capitaine Fracasse, a 1942 film directed by Abel Gance   Rollin decided he wanted to make films when he grew up; his father, a theatre actor, was a heavy influence on him   During his teens, he developed an obsession for American serials and read comic books   
When he was 16, he found a job at Les Films de Saturne, helping write invoices while earning some money though he wanted to be involved in cinema   They specialized in creating opening and closing credits and short cartoons, but real films were also shot such as industrial shorts and documentaries   Rollin was part of the crew in a short documentary about Snecma, a big factory in France which built motors and planes   He arranged the tracking shots, laid the tracks, checked the electricity, and helped the cameraman 
When Rollin did his military service for the French army, he worked as an editor in the cinema department alongside Claude Lelouch   They worked on army commercials with Lelouch directing and Rollin editing  They also made two films, Mechanographie, a documentary, and La Guerre de Silence (The War of Silence), a real film with actors and a story 
In 1958 after leaving the army, he directed his first short film Les Amours Jaunes (The Yellow Lovers)   He shot it on a 35mm Maurigraphe camera, and used a beach in Dieppe as his location, the same beach used in his later films 

1960s
In 1960, Rollin decided to direct his first feature film, but later abandoned the project as he had no money to finish it   His next short, Ciel de Cuivre (Sky of Copper), was directed in 1961, and was quite surreal though it told a sentimental story   He did not finish the film because he ran out of money and it was not very good   The footage is now lost 
In 1962, he was as an assistant director on the film Un Cheval pour Deux (A Horse for Two), which was not a great experience for him, and he decided to approach cinema in a different way   In the early sixties, Rollin became interested in politics and made a short documentary in 1964 called Vivre en Espagne (Life in Spain)  It was about Generalissimo Francisco Franco, thirty minutes were filmed but he risked a lot to get it made   Rollin and the crew found themselves pursued by the police and just managed to make it back into France   Jean also directed a short film in 1965 called Les Pays Loins 

In 1968, Jean directed his first feature Le Viol du Vampire (The Rape of the Vampire)   At the time he was still not known in the world of cinema, having only done a few short films and documentaries   The film was shot on a low budget, and consisted of two parts because it was originally intended to be another short film; the second part was later added so that it was released as a feature film   The release of Le Viol caused public scandal and outrage, his strong inspiration of American serials did not attract viewers   It was released during the events of May 1968, and due to the riots, it was a rare theatrical production at the time  Rollin himself was also threatened due to this scandal, because of this, he briefly decided to give up making films 
His second feature La Vampire Nue (The Nude Vampire) was his first film in colour   It was mostly inspired by the 1916 film Judex, and also surrealism in general  Rollin wanted to do something a little more temperate than Le Viol, a traditional mystery film  Anyway, as he himself stated, it came to be the same kind of film as his first feature, it also has the same spirit  La vampire nue also became notable in that it introduced Catherine and Marie-Pierre Castel, twin sisters who frequently collaborated with Rollin during the early years of his career 
Following La vampire nue, Rollin found himself in a financial crisis and having suffered an accident during production which left him traumatized, the circumstances took a positive turn when he met with producer Monique Nathan, owner of the Films Moderns company  Nathan having put her faith and support in Rollin, turned down several a number of the most prominent French New Wave filmmakers for financing and instead entirely supported Rollin as both a producer and a co-screenwriter for his next project, Le Frisson des Vampires (Shiver of the Vampires) which was heavily influenced by the trappings of the hippie movement  It did however retain many of the themes one could expect from a Rollin film and one of the most iconic scenes ever to appear in a Rollin film: actress Dominique emerging from an old grandfather clock  Production for the film took place in an abandoned castle in Soissons, a commune in the Aisne department of Picardy 

1970s
1971, Rollin directed Requiem pour un Vampire (Requiem for a Vampire), which became one of his most successful films, and it was another low budget production, which almost took no money to produce   There was no dialogue in the first forty minutes of the film, this was in Rollin's words to make the "ultimate naive film", simplifying the story, direction and cinematography  Initially, Rollin had Catherine Castel in mind to play one of the leading ladies in Requiem; however, Castel was unable to accept the role due to being pregnant, which forced Rolling to offer the role to Maire-Pierre  The second female lead was portrayed by Mireille D'argent whom Rollin chose after she was introduced to him by an agent  Rollin discovered that D'argent's agent was collecting her wages, which prompted him to contact a lawyer and have her wages returned to her  Requiem was filmed in the small village of Crêvecoeur  The graveyard was located outside the village on a knoll  The castle, a historical place entirely furnished with genuine antiques, all of which were worth a fortune, had been rented from the duchess of Roche-Guyon  It wasn't her castle that Rollin and the crew were interested in, but the ruins of the dungeon above, that overlooked the entire area  Following this, Rollin made a temporary departure to creating films associated with the erotic vampire genre 
Having risen to success during his early vampire era, Rollin embarked on a different approach to filmmaking  Rollin financed his 1973 film La Rose de Fer (The Iron Rose) himself and was convinced that it would become a failure, leading to financial ruin  Prior to production, he engaged in a deal with Impex films to direct a number of hardcore porn films in the near future in order to produce La rose de fer and ensure that it would not fail  The story follows two young lovers (Françoise Pascal and Hugues Quester) who meet at a wedding reception and agree to go on a date, for which they decide to take a walk in an enormous cemetery  As they make love in an underground tomb, strange and bizarre occurrences take place above ground  As night falls, they frantically try to escape from the cemetery, and with no luck, end up where they started  They are slowly overcome with hysteria and paranoia which brings about their mortality  The film was shot in the city of Amiens over a four-week period and premiered at the 2nd Annual Convention of the Fantastique in Paris in April 1973 and was initially met with a negative reception and as a result, Rollin was unable to find anyone to back his future personal projects Rollin directed the adult sex films Jeunes filles impudiques (Schoolgirl Hitchhikers), Le sourire vertical (The Vertical Smile), and Tout le monde il en a deux (Bacchanales sexuelles or Fly Me the French Way) under the pseudonym Michel Gentil as he was financially unable to come up with a budget for another mainstream feature film  However, in 1974 Rollin directed the horror adventure and self-proclaimed "Expressionist" film Les démoniaques which was inspired by the adventure classics he had enormous admiration for in his youth  The film includes Joëlle Cœur and Willy Braque whom Rollin worked with on Jeunes filles impudiques  The story follows two young women who have been involved in a shipwreck and are brutally raped and murdered by a group of rogue pirates, only to be resurrected after making love to the devil so that they can seek their revenge  Rollin had many disputes with the producers of the film during production of the project as they insisted on a low budget  He was hospitalized for two weeks following the work due to mental and physical exhaustion  Further problems would arise including the working title, Les diablesses, having to be changed as the copyright was not free of charge and with the Castel Twins being unavailable for the roles of the avenging ghosts, the parts where offered to inexperienced actresses Lieva Lone and Patricia Hermenier Rollin made a brief return to the erotic vampire genre in 1975 when he wrote and directed Lèvres de sang (Lips of Blood)  The film includes all the surreal dreamlike aspects for which Rollin's films are known  The story follows a young man named Frederic who is on a quest to find a woman dressed in white following the discovery of a photo of a ruined château  The photo triggers a suppressed childhood memory, which may be a dream  Despite his mother trying to convince him that it was dream, Frederic becomes fixated and obsessed with location the castle and the woman that may be inside  Lèvres de sang features Jean-Loup Philippe, whom Rollin co-wrote the film with, Annie Belle, and Nathalie Perrey, whom Rollin had worked with frequently throughout his career as a credited actress, script writer and editor  The film also sees the return of the Castel Twins as part of a group of vampires 
Due to the commercial failures of both La rose de fer and Lèvres de sang, Rollin again had no choice but to direct another adult sex film for financial reasons as there was no possible way to produce a feature film for the foreseeable future  Phantasmes (Once Upon a Virgin) was written and directed by Rollin for release in 1975 and was the first and only pornographic film in which he was credited under his own name because he liked what he did in the film  Rollin mentioned that the film is his "first and final attempt at a serious" adult film, wanting to create a film that didn't just "poke fun at sex"  The score for Phantasmes is considered one of the films best attributes, courtesy of composer Didier William Lepauw of Lèvres de sang Between 1976 and 1977, his work consisted strictly of hardcore pornographic films as there was a lack of money and producers reluctant to fund any new mainstream projects due to his previous commercial failures  Seven porn films were produced within this period under his pseudonym Michel Gentil, and one of which, Suce moi vampire (Suck Me Vampire: the hardcore version of Lèvres de sang), he credited himself as Michel Gand  His 1976 hardcore film Douces pénétraitions marked the final time the Castel Twins would appear together working for Rollin, and the final time Marie-Pierre would work with him altogether  Catherine would continue to appear in his films for several years 
Jean Rollin returned in 1978, when he wrote and directed Les raisins de la mort (The Grapes of Death) which has been considered the first French gore film  It has been described as one of the most pivotal films in his entire canon and is seen as a rare departure from his usual dreamlike and poetic works  Following the negative reception and commercial failures of his previous films and having to direct pornographic pictures, Rollin eventually gained financial backing to produce his next mainstream feature  The story here features a young woman, Elisabeth (Marie-Georges Pascal) who is travelling to a secluded vineyard in the mountains owned by her fiancé  There she discovers that the local residents who occupy the village have been transformed into mindless zombies by a dangerous pesticide which contaminated the grapes growing at the vineyard following a wine festival which occurred some days before 
The film includes pornographic actress Brigitte Lahaie, in her first mainstream role, as Rollin was the first French director to recognise her acting capabilities and offer her much more prominent roles in his subsequent films  Rollin stated that Les raisins de la mort was his "first traditional, almost conventional, production" which was because the film acquired solid finances with made a change and with special effects supplied by Italian experts  Claude Becognee served as director of photography which added to the film's success  Rollin would credit much of the film's success to Marie-Georges Pascal's portrayal of Elisabeth, whom he would recall delivered a very "moving" performance in the film  Les raisins de la mort was shot in the deserted mountain region of Les Cévennes 
The film is often referred to as being influenced by George A  Romero's Night of the Living Dead  However, it has more in common with Jorge Grau's 1974 Spanish-Italian horror film Let Sleeping Corpses Lie (also known as The Living Dead at Manchester Morgue)  The film does not follow the tradition zombie method, instead, Rollin's zombies centre on madness with a strong environmentally conscious message  As he has mentioned, the zombies "have retained their consciousness" and they finally "suffer for what they are"  With the film as a notable success, Rollin would continue with pornographic films under a new pseudonym, Robert Xavier, while retaining the Michel Gentil credit 
In 1979, and now established as a somewhat successful director, Rollin created Fascination in which he returned to the roots of the fantastique genre his early works are known for  The film is inspired by the short story Un verre de sang (A Glass of Blood) from French poet Jean Lorrain with tells the tale of wealthy French people, who, at the turn of the century, begin to drink the blood of bulls in order to cure anemia  The title of the film refers to and pays homage to a French magazine of the same name which is dedicated to different forms of eroticism in art  Rollin's story of Fascination differs slightly from that of Lorrain's novel, in that, in the year 1905 a group of wealthy Parisian women arrive at an abattoir to drink the blood of an ox as it is believed to be a curative for anemia  The central story follows two lovers Elizabeth and Eva (Franca Maï and Brigitte Lahaie respectively), chambermaids-in-waiting who reside at a deserted castle and are suddenly interrupted by a thief named Mark (Jean-Pierre Lemaire), who takes refuge at the castle in order to hide from a group of thieves he has stolen coins from  When Mark makes love to Eva, she is forced to go outside and confront the thieves in the nearby stables to make a deal; she is forced to have sex with one of the male thieves and subsequently they are murdered by Eva in an iconic scene with Eva wielding a scythe  It is soon revealed that Elizabeth and Eva are expecting a group of women to arrive where sensual love making takes place and the women are revealed to devour the blood of humans 
The film is often said to be of the vampire genre  However, it does not feature the elements which his early vampire films are known for, aside from the drinking of blood  The production of Fascination was not without complications; as it may have been one of the easiest films to shot in Rollin's experience, despite the low budget, the story was met with disapproval from the film's producer, Christine Renaud  As Rollin himself had said, the "co-producer wanted (him) to make a very explicit sex film-straight exploitation fare without too much emphasis on the fantastical elements"  Rollin overcame these obstacles and made the film he wanted  Additional members of the crew included Nathalie Perrey, who designed the costumes, and Philippe D'Aram, who provided the score  It was predicted that Fascination would lead to success, as did Les raisins de la mort  However, in a setback, one of the directors of UGC, a huge French distributor, cancelled the screenings Rollin had been promised  As the film was yet another financial failure for Rollin, he had little choice but to resume his pornographic works with continued until the end of the 1970s 

1980s
As Jean Rollin's career continued into the 1980s, he started off the decade with the release of La nuit des traquées (The Night of the Hunted) in the summer of 1980  This mainstream feature saw the return of pornographic actress Brigitte Lahaie, in her first leading role in a Rollin film  Upon the film's debut, it was considered a failure  However, it eventually garnered somewhat of a following in later years, as several of Rollin's works have done in the past  La nuit des traquées was shot in less than ten days on an extremely low budget, similar to his pornographic films  Rollin admitted that "I was tired of X-films", as the film was intended to be another hardcore sex film and told the producer "if you want a horror film for the same cost", then, "I can make it in 9 days"  Rollin came to the decision to cast actors of the pornographic industry in the picture in order to keep production cost down and to give the actors the opportunity to show their legitimate talent  The film stands as a noteworthy piece of work in Rollin's canon, as it differs from any of his previous work and is a departure from the fantastique genre that his films are greatly known for; the film is often poetic, yet it serves a realistic tone and chilling atmosphere  Lahaie portrays the character of Elizabeth, a young woman discovered wandering around in the rain on a dark night, by a man named Robert (Vincent Gardère)  As Elizabeth has no recollection of why she is there and frequently continues to lose her memory every few minutes, Robert drives her to his apartment in the city where they make love  The following morning while Robert goes to work, a doctor named Francis and a woman named Solange (Bernard Papineau and Rachel Mhas) locate Elizabeth and accompany her back to the clinic where she has escaped from  It is revealed that Elizabeth and fellow patients are currently confined to the hospital for a deteriorating disease in which they have been contaminated by an environmental accident 
In addition to Lahaie, Rollin had actress Martine Delva in mind for the role of Lahaie's character's friend Véronique  Delva was introduced to Rollin and Lionel Wallman by actor Alain Plumey and when offered the role, she accepted the role  Prior to production, which was intended to take place in La Défense district, she was involved in a serious car accident which left her unconscious with a broken leg and she died within one week from her injuries  The role of Véronique then offered to Dominique Journet  Pornographic actress Catherine Greiner and frequent collaborator, Natalie Perrey appeared as patients at the hospital 
In the early year of the film, it was met with a negative reception and did not please audiences during its release; not receiving a successful response at the Stigès Festival,  It did however receive positive reaction when it was screened at a festival in Trieste, where it was applauded and viewed as a highly subversive work  Rollin himself had stated that "I don't think it is a very good film and it is probably one of my worst" and that if he could remake just one of his films it would be La nuit des traquées In 1980, Rollin directed the Spanish zombie horror feature, Le lac des morts vivants (commonly known as Zombie Lake) under the pseudonym J A  Lazer  Jésus Franco was intended to direct the film, and with an unfortunate turn of events he became unavailable  At this point, Rollin was planning to take a vacation, and on the morning he was expecting to leave, he received a phone call from the production company Eurociné asking if he would be interested directing the horror film which was due to start filming the next morning, as Franco could not be located  Rollin agreed, and arrived on set the following morning  The company could not attach Rollin's name to the project due to issues with the contact, as a Spanish name had to be credited for the film and J A  Lazer was chosen  Le lac des morts vivants was released in 1981 and Rollin admitted that he never really cared for the film  It contains most of the elements which one would expect from a Franco film, and includes Franco's frequent collaborators such as actors Howard Vernon, Nadine Pascal, Antonio Mayans and Alain Petit, and composer Daniel White  Photography for the film was courtesy of Max Monteillet, who Rollin would later work with in several projects  Rollin himself made a cameo appearance in the film In 1981, Rollin returned with the drama film, Les paumées du petit matin (The Escapees or The Runaways)  It marks a departure to the usual horror tones which his films are notable for, and here mixes drama with elements of adventure, thriller and crime, while maintaining erotic and poetic themes and remains a distinctive and unique piece of work from Rollin  The story follows two young women who are confined to mental asylum in the countryside; Michelle (Laurence Dubas), a troubled teenager, has been returned to the asylum after escaping and is forced into a straitjacket  She manages to get the attention of Marie (Christiane Coppé), a teenage girl who is who sits in the garden on a rocking chair, while staring into space and never speaks, by dropping a tin food dish from her bedroom window and the sound somehow brings Marie back to reality  They escape from the asylum and encounter a group of burlesque dancers, a bar singer and a group of women who proceed to rape Marie  Their journey ends when they become involved in crime and death  The cast includes Rollin's usual collaborators Louise Dhour, Nathalie Perrey, Brigitte Lahie and a cameo appearance from Rollin himself  Les paumées du petit matin unfortunately failed to receive a proper theatrical in 1981 which resulted in it being one of the most difficult Rollin films to find in future  It did however receive its first DVD release in 2009 in the United States courtesy of Redemption Films, with a subsequent release in the United Kingdom  Again with a limited budget an issues with the script, Rollin stated that there were many problems with the production right from the beginning; that it was "an incredible mess", filled with "clichés and platitudes of melodrama " Later reviews of the film have been quite positive; Cathal Tohill and Pete Tombs would go so far as to call it a schizophrenic work in their wonderful Immoral Tales, but they would also note that "the beginning and end are pure Rollin" and "what is good in (The Escapees) is very good "
His 1982 film, La morte vivante (The Living Dead Girl) was his most commercial and successful work since Les raisins de la mort  In addition to its small budget, Rollin again had to contend with producers to construct a film that he wanted, as they required another zombie piece  He was reluctant to do so and was influenced to create a film with combinations from his previous works  Rollin described that the living dead girl is sort of a vampire woman who devours the blood of humans, taking the idea from his vampire works, but not exactly making her a vampire  The gore is a notable aspect taken from Les raisins de la mort  His usual poetic, supernatural and horror themes are still present within the film  Rollin created the story of a young woman named Catherine Valmont (Françoise Blanchard) who has been dead and buried in her family vault beneath the Valmont mansion for the past two years  As three thieves enter the vaults and plan to rob Catherine and her deceased relative of their jewellery as they lay in their coffins, an earth tremor occurs, which suddenly resurrects Catherine  Unaware of her surroundings, she must acquire human victims and drink their blood to prevent her descending into madness and possibly death, with drifting in and out of childhood memories of her childhood friend, Hélène (Marina Pierro)  During which, a photographer, Barbara (Carina Barone), becomes fascinated by Catherine when she discovers her and thinks she is quite peculiar, and sets out to uncover a mystery  Catherine's childhood friend, Hélène is intending to buy the Valmont mansion, which is currently on the market and a strange phone call leads her to the home where she discovers that Catherine is alive and the bodies of the thieves and the real estate agent and her boyfriend  Trying to convince herself that Catherine did not actually die, she realises that she has returned from the dead and must help her by bringing her unsuspecting victims  Some of the financing for the film was courtesy of Jacques Raif, who co-wrote the feature  The film's photographer Pierre LeBlond, found a castle which would become the Valmont mansion, which they rented  The castle provided accommodation for the cast and crew, in which the owner offered to cook  According to Rollin, the owner insisted on being referred to as "His Lordship" and that he was very difficult to get along with  Actress, Françoise Blanchard was introduced to Rollin by Fanny Magier, a co-star actress who appeared in the film  When Blanchard arrived, Rollin was unsure whether to offer her the role of Catherine due to the fact that in the first scene in which her character is resurrected, Blanchard appeared wearing trousers which wasn't required for the scene and Rollin did not ask her to remove them  She did however receive the role due to good contact  Blanchard showed great professionalism in her role and in one particular scene, the final scene of the film, in which Blanchard's character cries and screams after devouring her childhood friend, the crew became concerned over her mental state as they thought she has descended into madness  She gave an amazing performance for the role  During the preparation of the film, Rollin had been to Rome with Lionel Wallman to find an actress to portray the role of Hélène  Rollin had Teresa Ann Savoy in mind for the role, whom he was greatly impressed with  After speaking with Savoy and showing her a script for a pornographic picture which was in English and devoid of interest and not for La morte vivante, as she didn't speak French, she refused the role and told her agent that she would never in her life shoot with a guy like him  His second choice was actress Marina Pierro, a recurring collaborator with director Walerian Borowczyk, whom Rollin instantly liked  Pierro accepted the role  In the role of the photographers, American actor Mike Marshall, whom Rollin enjoyed working with during the production received the role of Greg and Canadian actress Carina Barone, was offered the role of Barbara due to a previous actress who featured in Les paumées du petit matin turning it down as she unmistakable believed that it was supposedly an erotic film  The film was a commercial success within theatres and received quite a positive reception, especially in Italy  Upon its release, Rollin was betrayed by a dishonest distributor who premiered in a select number of small theatres behind his back, as the film deserved a much larger audience in highly established theatres  However, La morte vivante was selected in many festivals which gave the film little success, particularly in Rome where Rollin's friend, Andriano Pintaldi presented the film in his festival where it was given the public's award After directing three additional pornographic features following La morte Vivante, Rollin's next feature film, Les trottoirs de Bangkok (The Sidewalks of Bangkok) was released in 1984  It is a rare production for Rollin, in that it does not contain his traditional fare of the supernatural, horror, or the fantastique genre  It is highly influenced by Rollin's childhood passion for old serials as it contains themes of adventure, crime and mystery, comic-book fantasy and is inspired by the 1932 Boris Karloff classic The Mask of Fu Manchu  The leading protagonist of the film is pornographic actress, Yoko, whom Rollin mentioned that he had "never worked with an actor who was so open-minded and easy to direct " She portrays the role of Eva, who is on the run from the French Secret Service and a rival syndicate who desperate require a deadly chemical which she possesses  This is her only mainstream role outside of the pornographic industry  Françoise Blanchard returns in her second film with Rollin, as she appears in the role of Claudine, a woman who works for the syndicate and is forced to locate Eva and hand her over to her villainous boss, instead she chooses to protect Eva  Supporting cast includes Argentina actor Gérard Landry, Israeli actress Brigitte Borghese, Jean-Pierre Bouyxou, whom Rollin has worked with on numerous occasions throughout his career, and a cameo appearance from Rollin  On a limited budget, and again working with producer Lionel Wallman and cinematographer Claude Becognee, the production of Les trottoris de Bangkok was filmed in several locations, many of which were not given permission to; the Chinese Quarter of Porte d'Italie and on the docks where goods from Asia were unloaded, an abandoned den near the Champs-Élysées, and on part of the French railroad  The film became a success and Rollin admitted that despite the fact that the film was a mess, he said "the entire shoot was great fun " Working with Yoko prompted Rollin to write a new film which included her alongside Brigitte Lahaie which unfortunately never became a film as Yoko retired from acting in the early nineties Rollin received minor work following Les trottoirs de Bangkok; in 1985, he resumed his pseudonymous work as "Michel Gentil" with a non-pornographic feature, the slapstick comedy, Ne prends pas les poulets pour des pigeons which reunited Brigitte Borghese and Gérard Landry from his previous film, and included French actor and comedian Popeck  Rollin was hired, and therefore his real name was not attached to the project  In 1988, he received the uncredited directorial role in the erotic sequel Emmanuelle 6, for which he wrote the screenplay  The film suffered many flaws during production under direction from Bruno Zincone and Rollin became involved in an attempt to salvage what he could and see that production was completed for the financiers At the end of the decade, Rollin created Perdues dans New York (Lost in New York) which was produced in 1989  Rollin mentioned that the film was "an anthology of all the themes and obsessive images I have used in my films", and that it, "brought to an end what had been started within the previous 13 films " A friend of Rollin's who was a producer insisted his help as he need location shots of New York an upcoming TV series he was working on  Rollin agreed and travelled to New York with a small film crew and a 16mm camera  While filming the shots, Rollin was struck with an idea to improvise a theme in which two young women are separated and desperately search for one another  He produced the film with a runtime of just under one hour and immediately struggled to find distribution, whether it be released to theatres or television  It was difficult to find distribution for independent and exploitation pictures in the late eighties as in a time of revolution and change, distributors would only pick up more commercial and high-budget film  It was not until the following years that the film found its audience on the home video market  Initially, Perdues dans New York was to be the final production of Rollin's canon as he has become ill during this period, and he expressed gratitude to his many fan by paying homage to his early works 
Despite his intentions to retire from directing following Perdues dans New York, his final film of the 1980s, Killing Car (working title Femme dangereuse) was produced in 1989  It is a revenge thriller and one of his most underrated and overlooked works  Initially intended to be a softcore production under the Michel Gentil pseudonym, Rollin attached his own name to the project and made it one of his most personal and self-referential of all his works  The film was shot on 16mm and in less than a week on a minimal budget of under $100,000  Australian model Tiki Tsang, originally of Brisbane, Queensland, had been residing in Paris, France for sometime when she was discovered by Rollin and offered her the role of "The Car Woman", a strange woman who steals an old Buick and proceeds to kill a number of people to seek revenge for a past tragedy  The part of "The Car Woman" was written especially for Tsang in what is the only film credit to her name  Killing Car gives nod to previous Rollin works including Tsang emerging from a grandfather clock (as did Dominique in an iconic scene from Les frisson des vampires)  Max Monteillet returned as cinematographer and Philippe Brejean provided the score  Cast includes recurring collaborators Jean-Pierre Bouyxou and Jean-Loup Philippe  Following the production, Rollin was hospitalized due to exhaustion and started editing the film after his recovery  The editing process lasted two years  Several problems would arise during post-production, as the film found it difficult to receive distribution, like Perdues dans New York, if it could not receive a theatrical distribution, Rollin would settle for a video or television release  The film was eventually released in 1993  It was announced that no usable print or negative of the film exists today, and all known film negatives are considered lost 

1990s
Rollin's final adult production came in 1994 when he made a brief return to direct (uncredited) and wrote the scenario for Le Parfume de Mathilde (The Scent of Mathilde)  Rollin was initially required as a screenwriter for the production due to the fact that he was to replace producer Marc Dorcel's in-house auteur Michele Ricaud, who has just recently passed away  However, Rollin became co-director of the made-for-video film  Following his final time working on a sex film, Rollin later returned to his traditional works when he would go on to resume what he was best known for Rollin continued his career into the 1990s, following what was intended to be a brief return in 1994 when he directed and wrote a final pornographic film  He remained true to form for what were to be his final years of film making, and his next feature went into production in 1995; Les deux orphelines vampires (The Two Orphan Vampires) saw the return of his most recognizable work, and his first vampire film since 1975's Levres de sang  With the then recent increase in popularity of Rollin's works, and with the resurgence with the vampire genre in general, most notable with Bram Stoker's Dracula, this prompted Rollin to create a new vampire feature, quite different from Francis Ford Coppola's 1992 blockbuster, as he stated that it was "not a good film at all", and that "it just doesn't work for one second"  The idea of the film was based upon Rollin's novel of the same name and went into production in June 1995 for a mere ₣3,000,000, which is actually more than his prior works received  Locations for the shoot included four days in New York at the beginning, with the remaining three weeks in Paris  Cinematography was provided by Norbert Marfaing-Sintes, who previously worked with Italian director Duccio Tessari, as Max Monteillet was not available  Nathalie Perrey introduced Rollin to Marfaing-Sintes, as she had experience working with Marfaing-Sintes in many films; to show his gratitude, Rollin offered Perrey a role in Les deux orphelines vampires  The leading roles were offered to two inexperienced actresses, Alexandra Pic and Isabelle Teboul, whom Rollin choose while answering a newspaper ad they had printed  Brigitte Lahaie received a minor role in the film  Following an extensive period in post-production, the film was eventually released on 9 July 1997 
His next directorial feature, La fiancée de Dracula (The Fiancée of Dracula) went into production in 1999  Rollin had written the screenplay for the film, as he did with many of his previous works  During which time, Rollin was receiving dialysis for kidney disease and for periods of time, did not remain with the film crew and production was shared with Jean-Noël Delamarre in his absence, while Rolling was staying at a hotel in Caen  Filming locations included the islands of Chausey where the majority of the filming took place, a cemetery in Épinay-Champlâtreux, a castle in Blandy, Seine-et-Marne, and port of Pourville-lès-Dieppes  Long-time collaborators Brigitte Lahaie, Catherine Castel and Nathalie Perrey returned for prominent roles in the film  Rollin's niece, Sandrine Thoquet appeared in the film as a young vampire burned by the rays of the sun  Following production, Rollin received a kidney transplant in October 2000 during the post-production which lasted for almost two years  The film was successfully shown in theatres on 14 August 2002, for which Rollin was not completely satisfied of the release date  However, he was pleased that it was released to theaters and was somewhat well received 

Personal life and death
Rollin was married to Simone Rollin Roth Le Gentil (née Morel), with whom he had two sons, Serge and Carel  He was married to Simone until his death 
Rollin died on 15 December 2010 after a long battle with cancer and was survived by his wife Simone, son Serge and granddaughter Gabrielle  He is buried at Père Lachaise Cemetery in Paris  Rollin's son, Carel (1973–2001), and his wife, Simone (1934–2016), rest alongside him 

Selected filmography
The following list consists of Jean Rollin's mainstream works as both director and writer and not of his pseudonym or pornographic works  For a complete list of his entire work, including producer and acting credits, see full filmography 

Bibliography
Coulthart, John (8 December 2014)  "Review of Saga de Xam by Nicolas Devil (1967)"  { feuilleton }  Retrieved 16 October 2016 Rollin, Jean (1990)  Le temps d'un visage  Éd  Saint-Germain de Prés  ISBN 2-243-03253-8 — (1993)  Les deux orphelines vampires  Fleuve Noir  ISBN 978-2-265001-11-4  Other titles in the same series include Anissa, Les Voyageuses, Les Pillardes, Les Incendiaires— (1996)  Ombres vives  Éd  Saint-Germain-des-Prés  ISBN 978-2-243-03542-1 — (1998)  Les dialogues sans fin: précédés de quelques souvenirs sur George Bataille, Maurice Blanchot et Michel Fardoulis-Lagrange  Éd  Mirandole  ISBN 978-2-912965-10-3 — (1998)  Cauchemar d'anniversaire  R  de Surtis  ISBN 978-2-912271-25-9 — (1998)  Monseigneur Rat roman  Paris: Sortilèges  ISBN 978-2-251-49126-4 — (1998)  La cabriole a disparu  Illustrated by Michel Solliec  Le Faouët: Liv'éditions  ISBN 978-2-910781-66-8 — (1998)  Enfer privé  Belles lettres  ISBN 978-2-251-82004-0 — (1998)  La statue de chair  Belles lettres  ISBN 978-2-251-82007-1 — (1999)  La promeneuse romans  Belles lettres  ISBN 978-2-251-49137-0 — (2001)  Vies et aventures de Jean-Pierre Bouyxou  Éd  Films ABC  ISBN 978-2-84672-009-0 — (2001)  Tuatha  Belles lettres  ISBN 978-2-251-49154-7 — (2001)  Gargouillis glauques (Pour une fontaine de feu)  R  de surtis  ISBN 978-2-912271-98-3 — (2001)  La petite fille au cerceau  Éd  Films ABC  ISBN 978-2-84672-010-6 — (2003)  Estelle et Edwige, les demoiselles de l'étrange  Paris: E-dite  ISBN 978-2-84608-108-5 — (2004)  Rien n'estvrai  Éd  Films ABC  ISBN 978-2-915160-02-4 — (2004)  Jean-Pierre Bouyxou contre la femme au masque rouge  Paris: E-dite : Films ABC  ISBN 978-2-84608-121-4 — (2004)  Les voleuses de foudre  Éd  Films ABC  ISBN 978-2-915160-00-0 — (2006)  Alice et Aladin détectives de l'impossible  Éd  Films ABC  ISBN 978-2-915160-03-1 — (2005)  Déraison  Éd  Films ABC  ISBN 978-2-915160-04-8 — (2005)  Bestialité  Oulon: Éd  Nuit d'avril  ISBN 978-2-35072-015-9 — (2007)  La petite Ogresse  Films ABC  ISBN 978-2-91516-007-9 — (2008)  MoteurCoupez!: mémoires d'un cinéaste singulier  ISBN 978-2-84608-253-2 — (2009)  Bille de clown  Paris: E-dite  ISBN 978-2-84608-254-9 — (2010)  Jean Rollin: Écrits complets Volume 1  Paris: Édite  ISBN 978-2-84608-277-8 — (2011)  Jean Rollin: Écrits complets Volume 2  E/dite  ISBN 978-2-84608-281-5 

Notes
Passage 6:
Françoise Blanchard
Françoise Denise Aline Blanchard (6 June 1954 – 24 May 2013) was a French actress and voice dubbing artist  Her most notable work is that of her role in the 1982 French film La morte vivante, directed by Jean Rollin  Blanchard had collaborated with Rollin on several occasions in films Les trottoirs de Bangkok (1984), À la poursuite de Barbara (1991) and La nuit des horloges (2007)  She had worked frequently with directors Richard Balducci and Jesús Franco  She was also known for her work as a voice artist, having dubbed films, such as, Robert Altman's Popeye (1980), The NeverEnding Story III (1994) and Hackers (1995), and animated television series, Teenage Mutant Ninja Turtles and Totally Spies!

Career
Blanchard's career stretched from between the late 1970s until the early 1990s  She may have been best known for playing Catherine Valmont in 1982 horror La Morte Vivante (The Living Dead Girl), a film from Jean Rollin 
She also appeared in films by directors Jess Franco and Bruno Mattei  She recalled her career in an interview, which was featured on the Encore release of La Morte Vivante, she mentioned that it was a tragedy and a coincidence that started her career in the late 1970s  While trying to make ends meet as a hand model, she lost her brother in the late 1970  Around that same time she was offered her first role, coincidentally as someone who had also lost a family member  Françoise approached the part skeptically as she remembered that at that time she was, "aggressive against people but also a bit confused" due to the death of her brother  She enjoyed the experience and took a serious interest in acting, so decided to take acting lessons afterwards Blanchard soon became involved in several B movies when her career quickly became intertwined with the legendary Eurocine company  "I liked the feel of these B movies, especially horror", Françoise noted to Encore, which perhaps explains why she became so popular to several of the most noteworthy genre directors of the late 1970s  She also mentioned that she didn't mind nudity and even went so far as to pose for Lui Magazine in the early 1980s  After several films directors such as Pierre Chevalier, Françoise took a role in Bruno Mattei's Caligula and Messalina in 1981  The following year she appeared in Jess Franco's Revenge In The House Of Usher, and she liked Franco and admired his creativity and fire She then appeared in the La Morte Vivante with Rollin  The night shoot on the film was mostly difficult and there were many problems with the special effects but, despite some disagreements, she liked and admired Rollin and admitted to Encore that, "he is really nice and is very much there"  She enjoyed working with and admired her co-star in the film, Italian actress Marina Pierro, and noted, "she is very maternal with me " Françoise worked again with Rollin in Les Trottoirs De Bangkok (The Sidewalks Of Bangkok), a film which she had a lot of fun making, and she appeared in his newest film production La nuit des horloges (The Night of Clocks) opposite Ovidie 

Death
Blanchard died on 24 May 2013, twelve days before her 59th birthday  The cause of death was not disclosed 

Filmography
Passage 7:
Giulio Questi
Giulio Questi (18 March 1924 – 3 December 2014) was an Italian film director and screenwriter Questi was born in Bergamo   He wrote short stories and filmed several documentaries before he started as assistant director and script writer in the movie business 
He is best known for the films La morte ha fatto l'uovo and Django Kill! (If You Live Shoot!) 
Questi died in Rome, aged 90 

Filmography
Passage 8:
Mr  Right (2009 film)
Mr  Right is a 2009 British film directed by David Morris and Jacqui Morris  The jointly-made gay-themed film is the debut for both directors 

Synopsis
The film presents life of a number of individuals who live in London's Soho area in their quest for their "Mr  Right"  One of the highlights of the film is when all the characters gather for an excruciatingly awkward and hilarious dinner party at which wine and secrets are spilled 
Harry (James Lance) is a TV producer but dreams to get way  He loves Alex (Luke de Woolfson), an aspiring yet insecure actor who also works as a caterer  Meanwhile Alex is struggling to create an identity for himself and decides to live independently through monetary help from his brother despite Harry wanting him back
Tom (David Morris, the co-director of the film) is a successful art dealer who is in a precarious relationship with Lars (Benjamin Hart), a handsome sometime-model  Tom finds excuses for Lars' flings so long as Lars doesn't leave him  Meanwhile Lars has this attraction to Harry and can't get over his feelings
William (Rocky Marshall) a divorced former rugby player finds it difficult very difficult to parent his nine-year-old daughter Georgie while trying to get on a new relationship with Lawrence (Leon Ockenden), a striving soap actor  Their relationship is complicated as Georgie is intent on sabotaging his relationship 
Louise (Georgia Zaris), a fag hag, is dating Paul (Jeremy Edwards), but suspects Paul is gay  Paul is slowly but surely getting drawn into the gay scene, despite visibly and verbally protesting every step of the way By the end of the film three months later, the characters are still striving to make new paths for themselves  Harry is appealing for Alex, now in a small studio residence to return, but the latter turns him gently down despite having feelings for him  Things are much better between William and Lawrence as Georgie becomes more accepting of their relationship  Things have soured between Lars and William  Devastated Lars catches Harry while the latter has just packed to leave everything behind for his long-planned trip away from his dreaded work  Meanwhile Paul is getting more and more into the gay scene despite putting a brave face that he is still straight 

Cast
MainJames Lance as Harry
Luke de Woolfson as Alex
David Morris as Tom
Benjamin Hart as Lars
Rocky Marshall as William
Leon Ockenden as Lawrence
Georgia Zaris as Louise
Jeremy Edwards as PaulOthersJan Waters as Harry's Mother
Maddie Planer as Georgie, Williams's daughter
Sheila Kidd as William's mother
Andrew Dunn as Alex's Father
Karen Meagher as Alex's Mother
Rick Warden as Alex's Brother
Katy Odey as Presenter
Lucy Jules as Emma
Sarah Carleton as Waitress
Dolly Wells as Fizz
Harry Serjeant as Runner
Ian Tytler as Charlie
Jim Cole as Heath
Archie Kidd as Barnaby
Heather Bleasdale as Barnaby's Mother
Yvonne O'Grady as Business Woman
Max Karie as Marcel
Kate Russell as The Yellow Team
Ian Russell as The Yellow Team
Mark Hayford as The Blue Team
Diane Morgan as The Blue Team
Terry Bird as Red Team
Cheryl Fergison as Red Team
Context 2: Passage 1:
Valley of Death
Valley of Death may refer to:

Places
Valley of Death (Bydgoszcz), the site of a 1939 Nazi mass murder and mass grave site in northern Poland
Valley of Death (Crimea), the site of the Charge of the Light Brigade in the 1854 Battle of Balaclava
Valley of Death (Gettysburg), the 1863 Gettysburg Battlefield landform of Plum Run
Valley of Death (Dukla Pass), the site of a tank battle during the Battle of the Dukla Pass in 1944 (World War II)
The Valley of Death, an area of poisonous volcanic gas near the Kikhpinych volcano in Russia
The Valley of Death, an area of poisonous volcanic gas near the Tangkuban Perahu volcano in Indonesia
Valley of Death, a nickname for the highly polluted city of Cubatão, Brazil

Other uses
The Valley of Death (audio drama), a Doctor Who audio play
The Valley of Death (film), a 1968 western film
"Valley of Death", the flawed NewsStand: CNN & Time debut program that caused the Operation Tailwind controversy
A literary element of "The Charge of the Light Brigade" by Alfred, Lord Tennyson
A reference to the difficulty of covering negative cash flow in the early stages of a start-up company; see Venture capital
"The Valley of Death", a song by the Swedish heavy metal band Sabaton from the 2022 album The War to End All Wars

See also
All pages with titles containing Valley of Death
Death Valley (disambiguation)
Valley of the Shadow of Death (disambiguation)
Passage 2:
Enheduanna
Enheduanna (Sumerian: 𒂗𒃶𒌌𒀭𒈾, also transliterated as Enheduana, En-hedu-ana, or variants) was the entu (high) priestess of the moon god Nanna (Sīn) in the Sumerian city-state of Ur in the reign of her father, Sargon of Akkad (r  c  2334 – c  2279)  She was likely appointed by her father as the leader of the religious cult at Ur to cement ties between the Akkadian religion of her father and the native Sumerian religion 
Enheduanna has been celebrated as the earliest known named author in world history, as a number of works in Sumerian literature, such as the Exaltation of Inanna feature her as the first person narrator, and other works, such as the Sumerian Temple Hymns may identify her as their author  However, there is considerable debate among modern Assyriologists based on linguistic and archaeological grounds as to whether or not she actually wrote or composed any of the rediscovered works that have been attributed to her  Additionally, the only manuscripts of the works attributed to her were written by scribes in the First Babylonian Empire six centuries after she lived, written in a more recent dialect of the Sumerian language than she would have spoken  These scribes may have attributed these works to her as part of the legendary narratives of the dynasty of Sargon of Akkad in later Babylonian traditions 
The cultural memory of Enheduanna and the works attributed to her were lost some time after the end of the First Babylonian Empire  Enheduanna's existence was first rediscovered by modern archaeology in 1927, when Sir Leonard Wooley excavated the Giparu in the ancient city of Ur and found an alabaster disk with her name, association with Sargon of Akkad, and occupation inscribed on the reverse  References to her name were then later discovered in excavated works of Sumerian literature, which initiated investigation into her potential authorship of those works  Enheduanna's archaeological rediscovery has attracted a considerable amount of attention and scholarly debate in modern times related to her potential attribution as the first known named author  She has also received considerable attention in feminism, and the works attributed to her have also been studied as an early progenitor of classical rhetoric  English translations of her works have inspired a number of literary adaptations and representations 

Background
Enheduanna's father was Sargon of Akkad, founder of the Akkadian Empire  In a surviving inscription Sargon styles himself "Sargon, king of Akkad, overseer (mashkim) of Inanna, king of Kish, anointed (guda) of Anu, king of the land [Mesopotamia], governor (ensi) of Enlil"  The inscription celebrates the conquest of Uruk and the defeat of Lugalzagesi, whom Sargon brought "in a collar to the gate of Enlil": "Sargon, king of Akkad, overseer of Inanna, king of Kish, anointed of Anu, king of the land, governor of Enlil: he defeated the city of Uruk and tore down its walls, in the battle of Uruk he won, took Lugalzagesi king of Uruk in the course of the battle, and led him in a collar to the gate of Enlil"  Sargon then conquered Ur and "laid waste" the territory from Lagash to the sea, ultimately conquering at least 34 cities in total 

Irene J  Winter states that Sargon, having conquered Ur, likely sought to "consolidate the Akkadian dynasty's links with the traditional Sumerian past in the important cult and political center of Ur" by appointing Enheduanna to an important position in the native Sumerian moon god cult  Winter states that is likely that the position she was appointed to already existed beforehand, and that her appointment to this role, and the attribution to Nanna would have helped her forge a syncreticism between the Sumerian religion and the Semitic religion  After Enheduanna, the role of high priestess continued to be held by members of the royal family  Joan Goodnick Westenholz suggests that the role of high priestess appears to have held a similar level of honor to that of a king; as the high priestess of Nanna, Enheduanna would have served as the embodiment of Ningal, spouse of Nanna, which would have given her actions divine authority  However, although the Giparu in Ur where the en priestess of Nanna worshipped has been extensively studied by archaeologists, we have no definitive information about what their duties were 

Rebellion of Lugal-Ane
Toward the end of the reign of Sargon's grandson Narām-Sîn, numerous former city-states rebelled against the Akkadian central power  From hints in the song Nin me šara ("the Exaltation of Inana"), the events can be reconstructed from the point of view of Enheduanna: A certain Lugal-Ane came to power in the city of Ur, who as the new ruler invoked the legitimacy of the city god Nanna  Lugal-Ane is probably identical with a Lugal-An-na or Lugal-An-né, who is mentioned in ancient Babylonian literary texts about the war as king of Ur  Apparently Lugal-Ane demanded that the high priestess and consort of the moon god Enheduanna had to confirm his assumption of power  En-ḫedu-anna, as representative of the Sargonid dynasty, refused, whereupon she was suspended from her office and expelled from the city  The mention of the temple E-ešdam-ku indicates that she then found refuge in the city of Ĝirsu  In this exile, she composed the song Nin me šara, the performance of which was intended to persuade the goddess Inanna (as Ištar the patron goddess of her dynasty) to intervene on behalf of the Akkadian empire At least, King Narām-Sîn succeeded in putting down the rebellion of Lugal-Ane and other kings and restored the Akkadian central authority for the remaining years of his reign  Probably Enheduanna then returned to her office in the city of Ur 

Archaeological artifact
In 1927, as part of excavations at Ur, British archaeologist Sir Leonard Woolley discovered an alabaster disk shattered into several pieces, which has since been reconstructed  The reverse side of the disk identifies Enheduanna as the wife of Nanna and daughter of Sargon of Akkad  The front side shows the high priestess standing in worship as what has been interpreted as a nude male figure pours a libation  Irene Winter states that "given the placement and attention to detail" of the central figure, "she has been identified as Enheduanna" Two seals bearing her name, belonging to her servants and dating to the Sargonic period, have been excavated at the Giparu at Ur Two of the works attributed to Enheduanna, "The Exaltation of Inanna" and "Inanna and Ebih" have survived in numerous manuscripts due to their presence in the Decad, an advanced scribal curriculum in the First Babylonian Empire of the 18th and 17th centuries BCE  Black et al  suggest that "perhaps Enheduanna has survived in scribal literature" due to the "continuing fascination with the dynasty of her father Sargon of Akkad" 

Attributed works
The first person to connect the disk and seals with literary works excavated in Nippur was Adam Falkenstein, who observed that the Temple Hymns and two hymns to Inanna: The Exaltation of Inanna and another "Hymn to Inanna" (at the time not yet reconstructed) contained references to Enheduanna  Falkenstein suggested that this might be evidence of Enheduanna's authorship, but acknowledged that the hymns are only known from the later Old Babylonian period and that more work would need to be done constructing and analyzing the received texts before any conclusions could be made  In 1989, Westenholz suggested that Inanna and Ebih and two other hymns, to Nanna at Ur, might also have been written by her 

Temple hymns
These hymns have been reconstructed from 37 tablets from Ur and Nippur, most of which date to the Ur III and Old Babylonian periods  Each hymn is dedicated to a particular deity from the Sumerian pantheon and a city with which the deity was associated, and may have helped to create syncreticism between the native Sumerian religion and the Semitic religion of the Akkadian empire  However, some of these poems, such as hymn 9, addressed to the temple of the deified king Sulgi from the later Third Dynasty of Ur, cannot have been written by Enheduanna or anyone in the Akkadian empire, showing that the collection may have gained additional poems over time The first translation of the collection into English was by Åke W  Sjöberg, who also argued that the mention of a "subscript" or colophon of two lines near the end of the composition appear to credit her with composition of the preceding text  However, Black shows that in the majority of manuscripts, the line following this colophon, which contains the line count for the 42nd and final hymn, demonstrates that the preceding two lines are part of the 42nd hymn  Black concludes that: "At most    it might be reasonable to accept a claim for (Enheduanna)'s authorship or editorship" for only Hymn 42, the final hymn in the collection 

Hymns dedicated to Inanna
The Exaltation of Inanna
Nin me šara ("Mistress of the innumerable me"; modern also The Exaltation of Inana / Inana B) is a hymn to the goddess Inanna of 154 lines  According to Claus Wilcke, the text "belongs to the most difficult that exists in the literary tradition in Sumerian"  The first complete edition of Nin me šara was produced by Hallo / van Dijk in 1968  A fundamentally new edition based on a broader textual foundation as well as recent linguistic research and textual criticism was published by Annette Zgoll in 1997, with further improvements in Zgoll 2014 and 2021 The work refers to the rebellion of Lugal-Ane and Enheduanna's exile  Probably composed in exile in Ĝirsu, the song is intended to persuade the goddess Inanna to intervene in the conflict in favor of Enheduanna and the Sargonian dynasty  To reach this, the text constructs a myth: An, the king of the gods, endows the goddess Inanna with divine powers and has her execute his judgment on all the cities of Sumer, making her herself the ruler of the land and most powerful of all the gods  When now the city of Ur rebels against her rule, Inanna passes her judgment over it and has it executed by Nanna, the city god of Ur and her father  Inanna has thus become the mistress of heaven and earth alike - and thus empowered to enforce her will even over the originally superior gods (An and Nanna), which results in the destruction of Ur and Lugal-Ane 

Hymn to Inanna
This hymn (incipit in-nin ša-gur-ra) which is only partially preserved in a fragmentary form, is outlined by Black et al  as containing three parts: an introductory section (lines 1-90) emphasizing Inanna's "martial abilities"; a long, middle section (lines 91-218) that serves as a direct address to Inanna, listing her many positive and negative powers, and asserting her superiority over other deities, and a concluding section (219–274) narrated by Enheduanna that exists in a very fragmentary form Black et al  surmise that the fragmentary nature of the concluding section makes it unclear whether Enheduanna composed the hymn, the concluding section was a later addition, or that her name was added to the poem later in the Old Babylonian period from "a desire to attribute it to her"  They also note that the concluding section also appears to reference "some historical events which cannot be elucidated " This poem also contains a potential reference to the events described in Inanna and Ebih, which has led Westenholz to suggest that that poem may have been written by Enheduanna as well The first English translation of this work was by Sjöberg in 1975 

Inanna and Ebih
This hymn (incipit in-nin me-huš-a) is characterized by Black et al  as "Inanna in warrior mode " The poem starts with a hymn to Inanna as "lady of battle" (lines 1–24) then shifts to a narration by Inanna herself in the first person (lines 25–52), where she describes the revenge she wants to take on the mountains of Ebih for their refusal to bow to her Inanna then visits the sky god An and requests his assistance (lines 53–111), but An doubts Inanna's ability to take revenge (lines 112–130)  This causes Inanna to fly into a rage and attack Ebih (lines 131–159)  Inanna then recounts how she overthrew Ebih (lines 160–181) and the poem ends with a praise of Inanna (lines 182–184) 
The "rebel lands" of Ebih that are overthrown in the poem have been identifiedwith the Jebel Hamrin mountain range in modern Iraq   Black et al  describe these lands as "home to the nomadic, barbarian tribes who loom large in Sumerian literature as forces of destruction and chaos" that sometimes need to be "brought under divine control" 

Hymns dedicated to Nanna
These two hymns, labeled by Westenholz as Hymn of Praise to Ekisnugal and Nanna on [the] Assumption of En-ship (incipit e ugim e-a) and Hymn of Praise of Enheduanna (incipit lost)  The second hymn is very fragmentary 

Authorship debate
The question of Enheduanna's authorship of poems has been subject to significant debate  While Hallo and Åke Sjöberg were the first to definitively assert Enheduanna's authorship of the works attributed to her, other Assyriologists including Miguel Civil and Jeremy Black have put forth arguments rejecting or doubting Enheduanna's authorship   Civil has raised the possibility that "Enheduanna" refers not to the name, but instead the station of EN-priestess that the daughter of Sargon of Akkad held 
For the Inanna and Nanna poems, Black et al  argue that at best, all of the manuscript sources date from at least six centuries after when she would have lived, and they were found in scribal settings, not ritual ones, and that "surviving sources show no traces of Old Sumerian    making it impossible to posit what that putative original might have looked like "Despite these concerns, Hallo says that there is still little reason to doubt Enheduanna's authorship of these works  Hallo, responding to Miguel Civil, not only still maintains Enheduanna's authorship of all of the works attributed to her, but rejects "excess skepticism" in Assyriology as a whole, and noting that "rather than limit the inferences they draw from it" other scholars should consider that "the abundant textual documentation from Mesopotamia    provides a precious resource for tracing the origins and evolution of countless facets of civilization "Summarizing the debate, Paul A  Delnero, professor of Assyriology at Johns Hopkins University, remarks that "the attribution is exceptional, and against the practice of anonymous authorship during the period; it almost certainly served to invest these compositions with an even greater authority and importance than they would have had otherwise, rather than to document historical reality" 

Influence and legacy
Enheduanna has received substantial attention in feminism  In a BBC Radio 4 interview, Assyriologist Eleanor Robson credits this to the feminist movement of the 1970s, when, two years after attending a lecture by Cyrus H  Gordon in 1976, American anthropologist Marta Weigle introduced Enheduanna to an audience of feminist scholars as "the first known author in world literature" with her introductory essay "Women as Verbal Artists: Reclaiming the Sisters of Enheduanna"  Robson says that after this publication, the "feminist image of Enheduanna    as a wish fulfillment figure" really took off  Rather than as a "pioneer poetess" of feminism, Robson states that the picture of Enheduanna from the surviving works of the 18th century BCE is instead one of her as "her father's political and religious instrument"  Robson also stresses that we have neither "access to what Enheduanna thought or did" or "evidence that (Enheduanna) was able to write", but that as the high priestess and daughter of Sargon of Akkad, Enheduanna was "probably the most privileged woman of her time" Enheduanna has also been analyzed as an early rhetorical theorist  Roberta Binkley finds evidence in The Exaltation of Inanna of invention and classical modes of persuasion  Hallo, building on the work of Binkley, compares the sequence of the Hymn to Inanna, Inanna and Ebih, and the Exaltation of Inanna to the biblical Book of Amos, and considers these both evidence of "the birth of rhetoric in Mesopotamia "

See also
Adad-guppi – Assyrian priestess of the moon god Sin
Anna Komnene – Byzantine historian (1083–1153)
Diotima of Mantinea – Ancient Greek woman or fictional figure in Plato's Symposium
Hypatia – Alexandrian astronomer and mathematician (died 415)
Kushim – Sumerian person, c  3400–3000 BC
Puabi – Queen of Ur
List of female poets

Notes
Passage 3:
Where Was I
"Where Was I?" may refer to:

Books
"Where Was I?", essay by David Hawley Sanford from The Mind's I
Where Was I?, book by John Haycraft 2006
Where was I?!, book by Terry Wogan 2009

Film and TV
Where Was I? (film), 1925 film directed by William A  Seiter  With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran 
Where Was I? (2001 film), biography about songwriter Tim Rose
Where Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos
"Where Was I?" episode of Shoestring (TV series) 1980

Music
"Where was I", song by W  Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939
"Where Was I", single from Charley Pride discography 1988
"Where Was I" (song), a 1994 song by Ricky Van Shelton
"Where Was I (Donde Estuve Yo)", song by Joe Pass from Simplicity (Joe Pass album)
"Where Was I?", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)
"Where Was I", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002
"Where Was I?", song  by  Kenny Wayne Shepherd from Live On  1999
"Where Was I", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)
"Where Was I", song by Rosie Thomas from With Love (Rosie Thomas album)
Passage 4:
Dance of Death (disambiguation)
Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death 
Dance of Death or The Dance of Death may also refer to:

Books
Dance of Death, a 1938 novel by Helen McCloy
Dance of Death (Stine novel), a 1997 novel by R  L  Stine
Dance of Death (novel), a 2005 novel by Douglas Preston and Lincoln Child

Theatre and film
The Dance of Death (Strindberg play), a 1900 play by August Strindberg
The Dance of Death, a 1908 play by Frank Wedekind
The Dance of Death (Auden play), a 1933 play by W  H  Auden

Film
The Death Dance, a 1918 drama starring Alice Brady
The Dance of Death (1912 film), a German silent film
The Dance of Death (1919 film), an Austrian silent film
The Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph Dawson
The Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich von Stroheim
The Dance of Death (1967 film), a West German drama film
Dance of Death or House of Evil, 1968 Mexican horror film starring Boris Karloff
Dance of Death (1969 film), a film based on Strindberg's play, starring Laurence Olivier
Dance of Death (1979 film), a Hong Kong film featuring Paul Chun

Music
Dance of Death (album), a 2003 album by Iron Maiden, or the title song
The Dance of Death & Other Plantation Favorites, a 1964 album by John Fahey
The Dance of Death (Scaramanga Six album)
"Death Dance", a 2016 song by Sevendust

See also
Dance of the Dead (disambiguation)
Danse Macabre (disambiguation)
Bon Odori, a Japanese traditional dance welcoming the spirits of the dead
La danse des morts, an oratorio by Arthur Honegger
Totentanz (disambiguation)
Passage 5:
Beaulieu-sur-Loire
Beaulieu-sur-Loire (French pronunciation: ​[boljø syʁ lwaʁ], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France  It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars 

Population
See also
Communes of the Loiret department
Passage 6:
Sargon of Akkad
Sargon of Akkad (; Akkadian: 𒊬𒊒𒄀 Šarrugi), also known as Sargon the Great, was the first ruler of the Akkadian Empire, known for his conquests of the Sumerian city-states in the 24th to 23rd centuries BC  He is sometimes identified as the first person in recorded history to rule over an empire 
He was the founder of the "Sargonic" or "Old Akkadian" dynasty, which ruled for about a century after his death until the Gutian conquest of Sumer 
The Sumerian king list makes him the cup-bearer to king Ur-Zababa of Kish His empire is thought to have included most of Mesopotamia, parts of the Levant, besides incursions into Hurrian and Elamite territory, ruling from his (archaeologically as yet unidentified) capital, Akkad 
Sargon appears as a legendary figure in Neo-Assyrian literature of the 8th to 7th centuries BC 
Tablets with fragments of a Sargon Birth Legend were found in the Library of Ashurbanipal 

Name
The Akkadian name is normalized as either Šarru-ukīn or Šarru-kēn  The name's cuneiform spelling is variously LUGAL-ú-kin, 
šar-ru-gen6, šar-ru-ki-in, šar-ru-um-ki-in  
In Old Babylonian tablets relating the legends of Sargon, his name is transcribed as 𒊬𒊒𒌝𒄀𒅔 (Šar-ru-um-ki-in) 
In Late Assyrian references, the name is mostly spelled as LUGAL-GI NA or LUGAL-GIN, i e  identical to the name of the Neo-Assyrian king Sargon II 
The spelling Sargon is derived from the single mention of the name (in reference to Sargon II) in the Hebrew Bible, as סַרְגוֹן, in Isaiah 20:1 
The first element in the name is šarru, the Akkadian (East Semitic) for "king" (c f  Hebrew śar שַׂר)  The second element is derived from the verb kīnum "to confirm, establish" (related to Hebrew kūn כּוּן) A possible interpretation of the reading Šarru-ukīn is "the king has established (stability)" or "he [the god] has established the king"  Such a name would however be unusual; other names in -ukīn always include both a subject and an object, as in Šamaš-šuma-ukīn "Shamash has established an heir" 
There is some debate over whether the name was an adopted regnal name or a birth name  
The reading Šarru-kēn has been interpreted adjectivally, as "the king is established; legitimate", expanded as a phrase šarrum ki(e)num The terms "Pre-Sargonic" and "Post-Sargonic" were used in Assyriology based on the chronologies of Nabonidus before the historical existence of Sargon of Akkad was confirmed  
The form Šarru-ukīn was known from the Assyrian Sargon Legend discovered in 1867 in Library of Ashurbanipal at Nineveh 
A contemporary reference to Sargon thought to have been found on the cylinder seal of Ibni-sharru, a high-ranking official serving under Sargon  Joachim Menant published a description of this seal in 1877, reading the king's name as Shegani-shar-lukh, and did not yet identify it with "Sargon the Elder" (who was identified with the Old Assyrian king Sargon I) 
In 1883, the British Museum acquired the "mace-head of Shar-Gani-sharri", a votive gift deposited at the temple of Shamash in Sippar  This "Shar-Gani" was identified with the Sargon of Agade of Assyrian legend 
The identification of "Shar-Gani-sharri" with Sargon was recognised as mistaken in the 1910s  Shar-Gani-sharri (Shar-Kali-Sharri) is, in fact, Sargon's great-grandson, the successor of Naram-Sin It is not entirely clear whether the Neo-Assyrian king Sargon II was directly named for Sargon of Akkad, as there is some uncertainty whether his name should be rendered Šarru-ukīn or as Šarru-kēn(u) 

Chronology
Primary sources pertaining to Sargon are sparse; the main near-contemporary reference is that in the various versions of the Sumerian King List 
Here, Sargon is mentioned as the son of a gardener, former cup-bearer of Ur-Zababa of Kish  He usurped the kingship from Lugal-zage-si of Uruk and took it to his own city of Akkad  Note that the Weidner chronicle has Sargon ruling directly after Ur-Zababa and does not mention Lugal-zage-si  Various copies of the king list give the duration of his reign as either 40 or 54-56 years  Numerous fragmentary inscriptions relating to Sargon are also known In absolute years, his reign would correspond to c  2334–2279 BC in the middle chronology  His successors until the Gutian conquest of Sumer are also known as the "Sargonic Dynasty" and their rule as the "Sargonic Period" of Mesopotamian history Foster (1982) argued that the reading of 55 years as the duration of Sargon's reign was, in fact, a corruption of an original interpretation of 37 years  An older version of the king list gives Sargon's reign as lasting for 40 years Thorkild Jacobsen marked the clause about Sargon's father being a gardener as a lacuna, indicating his uncertainty about its meaning  Ur-Zababa and Lugal-zage-si are both listed as kings, but separated by several additional named rulers of Kish, who seem to have been merely governors or vassals under the Akkadian Empire The claim that Sargon was the original founder of Akkad has been called into question with the discovery of an inscription mentioning the place and dated to the first year of Enshakushanna, who almost certainly preceded him  The Weidner Chronicle (ABC 19:51) states that it was Sargon who "built Babylon in front of Akkad " The Chronicle of Early Kings (ABC 20:18–19) likewise states that late in his reign, Sargon "dug up the soil of the pit of Babylon, and made a counterpart of Babylon next to Agade " Van de Mieroop suggested that those two chronicles may refer to the much later Assyrian king, Sargon II of the Neo-Assyrian Empire, rather than to Sargon of Akkad Some of the regnal year names of Sargon are preserved, and throw some light in the events of his reign, particularly the conquest of the surrounding territories of Simurrum, Elam and Mari, and Uru'a, thought to be a city in Elam:

Year in which Sargon went to Simurrum
Year in which Sargon destroyed Uru'a
Year in which Uru'a was destroyed
Year in which Sargon destroyed Elam
Year in which Mari was destroyed

Historiography
Language and script used in records
Sargon appears to have promoted the use of Semitic (Akkadian) in inscriptions 
He frequently calls himself "king of Akkad" first, after he apparently founded the city of Akkad  He appears to have taken over the rule of Kish at some point, and later also much of Mesopotamia, referring to himself as
"Sargon, king of Akkad, overseer of Inanna, king of Kish, anointed of Anu, king of the land [Mesopotamia], governor (ensi) of Enlil" During Sargon's reign, East Semitic was standardized and adapted for use with the cuneiform script previously used in the Sumerian language into what is now known as the "Akkadian language"  A style of calligraphy developed in which text on clay tablets and cylinder seals was arranged amidst scenes of mythology and ritual



ground_truth: yes

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 Enheduanna's father?

The following are given passages.
Context 2: 

Year names
While various copies of the Sumerian king list and later Babylonian chronicles credit Sargon with a reign length ranging from 34 to 56 years, dated documents have been found for only four different year-names of his actual reign  The names of these four years describe his campaigns against Elam, Mari, Simurrum (a Hurrian region), and Uru'a (an Elamite city-state) 

Nippur inscription
Among the most important sources for Sargon's reign is a tablet of the Old Babylonian period recovered at Nippur in the University of Pennsylvania expedition in the 1890s  The tablet is a copy of the inscriptions on the pedestal of a statue erected by Sargon in the temple of Enlil  Its text was edited by Arno Poebel (1909) and Leon Legrain (1926) 

Conquest of Sumer
In the inscription, Sargon styles himself "Sargon, king of Akkad, overseer (mashkim) of Inanna, king of Kish, anointed (guda) of Anu, king of the land [Mesopotamia], governor (ensi) of Enlil"  

It celebrates the conquest of Uruk and the defeat of Lugalzagesi, whom Sargon brought "in a collar to the gate of Enlil":
Sargon, king of Akkad, overseer of Inanna, king of Kish, anointed of Anu, king of the land, governor of Enlil: he defeated the city of Uruk and tore down its walls, in the battle of Uruk he won, took Lugalzagesi king of Uruk in the course of the battle, and led him in a collar to the gate of Enlil 
Sargon then conquered Ur and E-Ninmar and "laid waste" the territory from Lagash to the sea, and from there went on to conquer and destroy Umma:
Sargon, king of Agade, was victorious over Ur in battle, conquered the city and destroyed its wall  He conquered Eninmar, destroyed its walls, and conquered its district and Lagash as far as the sea  He washed his weapons in the sea  He was victorious over Umma in battle, [conquered the city, and destroyed its walls]  [To Sargon], lo[rd] of the land the god Enlil [gave no] ri[val]  The god Enlil gave to him [the Upper Sea and] the [Lower (Sea) 
Sargon permitted the inhabitants of the territories he conquered to retain their native leaders and traditions  Yet, they were obligated to follow him and pay a tribute in exchange for safety  The people of Sargon's dominion were devoted to him because of his policies, which served to maintain peace  In addition, he proclaimed Akkadian the official language of the government and imposed regular weights and measurements 

Conquest of Upper Mesopotamia, as far as the Mediterranean Sea
Submitting himself to the (Levantine god) Dagan, Sargon conquered territories of Upper Mesopotamia and the Levant, including Mari, Yarmuti (Jarmuth?) and Ibla "up to the Cedar Forest (the Amanus) and up to the Silver Mountain (Aladagh?)", ruling from the "upper sea" (Mediterranean) to the "lower sea" (Persian Gulf) 
Sargon the King bowed down to Dagan in Tuttul  He (Dagan) gave to him (Sargon) the Upper Land: Mari, Iarmuti, and Ebla, as far as the Cedar Forest and the Silver Mountains

Conquests of Elam and Marhashi
Sargon also claims in his inscriptions that he is "Sargon, king of the world, conqueror of Elam and Parahshum", the two major polities to the east of Sumer  He also names various rulers of the east whom he vanquished, such as "Luh-uh-ish-an, son of Hishibrasini, king of Elam, king of Elam" or "Sidga'u, general of Parahshum", who later also appears in an inscription by Rimush Sargon triumphed over 34 cities in total  Ships from Meluhha, Magan and Dilmun, rode at anchor in his capital of Akkad He entertained a court or standing army of 5,400 men who "ate bread daily before him" 

Sargon Epos
A group of four Babylonian texts, summarized as "Sargon Epos" or Res Gestae Sargonis, shows Sargon as a military commander asking the advice of many subordinates before going on campaigns  
The narrative of Sargon, the Conquering Hero, is set at Sargon's court, in a situation of crisis  Sargon addresses his warriors, praising the virtue of heroism, and a lecture by a courtier on the glory achieved by a champion of the army, a narrative relating a campaign of Sargon's into the far land of Uta-raspashtim, including an account of a "darkening of the Sun" and the conquest of the land of Simurrum, 
and a concluding oration by Sargon listing his conquests 

The narrative of King of Battle relates Sargon's campaign against the Anatolian city of Purushanda in order to protect his merchants 
Versions of this narrative in both Hittite and Akkadian have been found  
The Hittite version is extant in six fragments, the Akkadian version is known from several manuscripts 
found at Amarna, Assur, and Nineveh 
The narrative is anachronistic, portraying Sargon in a 19th-century milieu  The same text mentions that Sargon crossed the Sea of the West (Mediterranean Sea) and ended up in Kuppara, which some authors have interpreted as the Akkadian word for Keftiu, an ancient locale usually associated with Crete or Cyprus Famine and war threatened Sargon's empire during the latter years of his reign  The Chronicle of Early Kings reports that revolts broke out throughout the area under the last years of his overlordship:

Afterward in his [Sargon's] old age all the lands revolted against him, and they besieged him in Akkad; and Sargon went onward to battle and defeated them; he accomplished their overthrow, and their widespreading host he destroyed  Afterward he attacked the land of Subartu in his might, and they submitted to his arms, and Sargon settled that revolt, and defeated them; he accomplished their overthrow, and their widespreading host he destroyed, and he brought their possessions into Akkad  The soil from the trenches of Babylon he removed, and the boundaries of Akkad he made like those of Babylon  But because of the evil which he had committed, the great lord Marduk was angry, and he destroyed his people by famine  From the rising of the sun unto the setting of the sun they opposed him and gave him no rest 
A  Leo Oppenheim translates the last sentence as "From the East to the West he [i e  Marduk] alienated (them) from him and inflicted upon (him as punishment) that he could not rest (in his grave) "

Chronicle of Early Kings
Shortly after securing Sumer, Sargon embarked on a series of campaigns to subjugate the entire Fertile Crescent  According to the Chronicle of Early Kings, a later Babylonian historiographical text:

[Sargon] had neither rival nor equal  His splendor, over the lands it diffused  He crossed the sea in the east  In the eleventh year he conquered the western land to its farthest point  He brought it under one authority  He set up his statues there and ferried the west's booty across on barges  He stationed his court officials at intervals of five double hours and ruled in unity the tribes of the lands  He marched to Kazallu and turned Kazallu into a ruin heap, so that there was not even a perch for a bird left 
In the east, Sargon defeated four leaders of Elam, led by the king of Awan  Their cities were sacked; the governors, viceroys, and kings of Susa, Waraḫše, and neighboring districts became vassals of Akkad 

Origin legends
Sargon became the subject of legendary narratives describing his rise to power from humble origins and his conquest of Mesopotamia in later Assyrian and Babylonian literature  Apart from these secondary, and partly legendary, accounts, there are many inscriptions due to Sargon himself, although the majority of these are known only from much later copies  The Louvre has fragments of two Sargonic victory steles recovered from Susa (where
they were presumably transported from Mesopotamia in the 12th century BC) 

Sumerian legend
The Sumerian-language Sargon legend contains a legendary account of Sargon's rise to power  It is an older version of the previously known Assyrian legend, discovered in 1974 in Nippur and first edited in 1983 The extant versions are incomplete, but the surviving fragments name Sargon's father as La'ibum  After a lacuna, the text skips to Ur-Zababa, king of Kish, who awakens after a dream, the contents of which are not revealed on the surviving portion of the tablet  For unknown reasons, Ur-Zababa appoints Sargon as his cup-bearer  Soon after this, Ur-Zababa invites Sargon to his chambers to discuss a dream of Sargon's, involving the favor of the goddess Inanna and the drowning of Ur-Zababa by the goddess in a river of blood  Deeply frightened, Ur-Zababa orders Sargon murdered by the hands of Beliš-tikal, the chief smith, but Inanna prevents it, demanding that Sargon stop at the gates because of his being "polluted with blood " When Sargon returns to Ur-Zababa, the king becomes frightened again and decides to send Sargon to king Lugal-zage-si of Uruk with a message on a clay tablet asking him to slay Sargon  The legend breaks off at this point; presumably, the missing sections described how Sargon becomes king 

The part of the interpretation of the king's dream has parallels to the biblical story of Joseph, the part about the letter with the carrier's death sentence has similarities to the Greek story of Bellerophon and the biblical story of Uriah 

Birth legend
A Neo-Assyrian text from the 7th century BC purporting to be Sargon's autobiography asserts that the great king was the illegitimate son of a priestess  
Only the beginning of the text (the first two columns) is known, from the fragments of three manuscripts  
The first fragments were discovered as early as 1850 
Sargon's birth and his early childhood are described thus: 

My mother was a high priestess, my father I knew not  The brothers of my father loved the hills  My city is Azupiranu, which is situated on the banks of the Euphrates  My high priestess mother conceived me, in secret she bore me  She set me in a basket of rushes, with bitumen she sealed my lid  She cast me into the river which rose over me  The river bore me up and carried me to Akki, the drawer of water  Akki, the drawer of water, took me as his son and reared me  Akki, the drawer of water, appointed me as his gardener  While I was a gardener, Ishtar granted me her love, and for four and     years I exercised kingship 
Similarities between the Sargon Birth Legend and other infant birth exposures in ancient literature, including Moses, Karna, and Oedipus, were noted by psychoanalyst Otto Rank in his 1909 book The Myth of the Birth of the Hero  The legend was also studied in detail by Brian Lewis, and compared with many different examples of the infant birth exposure motif found in European and Asian folktales  He discusses a possible archetype form, giving particular attention to the Sargon legend and the account of the birth of Moses  Joseph Campbell has also made such comparisons Sargon is also one of the many suggestions for the identity or inspiration for the biblical Nimrod  Ewing William (1910) suggested Sargon based on his unification of the Babylonians and the Neo-Assyrian birth legend  Yigal Levin (2002) suggested that Nimrod was a recollection of Sargon and his grandson Naram-Sin, with the name "Nimrod" derived from the latter 

Family
The name of Sargon's main wife, Queen Tashlultum, and those of a number of his children are known to us  His daughter Enheduanna was a high priestess of the moon God in Ur who composed ritual hymns  Many of her works, including her Exaltation of Inanna, were in use for centuries thereafter  Sargon was succeeded by his son Rimush; after Rimush's death another son, Manishtushu, became king  Manishtushu would be succeeded by his own son, Naram-Sin  Two other sons, Shu-Enlil (Ibarum) and Ilaba'is-takal (Abaish-Takal), are known 

Legacy
Sargon of Akkad is sometimes identified as the first person in recorded history to rule over an empire (in the sense of the central government of a multi-ethnic territory), although earlier Sumerian rulers such as Lugal-zage-si might have a similar claim  His rule also heralds the history of Semitic empires in the Ancient Near East, which, following the Neo-Sumerian interruption (21st/20th centuries BC), lasted for close to fifteen centuries until the Achaemenid conquest following the 539 BC Battle of Opis Sargon was regarded as a model by Mesopotamian kings for some two millennia after his death  The Assyrian and Babylonian kings who based their empires in Mesopotamia saw themselves as the heirs of Sargon's empire  
Sargon may indeed have introduced the notion of "empire" as understood in the later Assyrian period; the Neo-Assyrian Sargon Text, written in the first person, has Sargon challenging later rulers to "govern the black-headed people" (i e  the indigenous population of Mesopotamia) as he did  An important source for "Sargonic heroes" in oral tradition in the later Bronze Age is a Middle Hittite (15th century BC) record of a Hurro-Hittite song, which calls upon Sargon and his immediate successors as "deified kings" (dšarrena) Sargon shared his name with two later Mesopotamian kings  Sargon I was a king of the Old Assyrian period presumably named after Sargon of Akkad  Sargon II was a Neo-Assyrian king named after Sargon of Akkad; it is this king whose name was rendered Sargon (סַרְגוֹן) in the Hebrew Bible (Isaiah 20:1) 
Neo-Babylonian king Nabonidus showed great interest in the history of the Sargonid dynasty and even conducted excavations of Sargon's palaces and those of his successors 

In popular culture
The fanciful adventure film The Scorpion King: Rise of a Warrior (2008) imagines Sargon of Akkad as a murderous army commander wielding black magic  He is the film's main villain, portrayed by Randy Couture The twentieth episode of the second season of Star Trek: The Original Series, "Return to Tomorrow", features an ancient, telepathic alien named Sargon who once ruled a mighty empire 
American Rock Group They Might Be Giants refer to Sargon of Akkad in the track "The Mesopotamians" on their 2007 album The Else, along with Hammurabi, Ashurbanipal and Gilgamesh 
Carl Benjamin, British far-right YouTuber and political commentator, goes by the online pseudonym "Sargon of Akkad" on his YouTube channel 
The Return of Rome expansion pack for the video game Age of Empires II: Definitive Edition features a campaign called "Sargon of Akkad", which depicts his conquest of Sumer and the rise of the Akkadian Empire 

See also
Media related to Sargon of Akkad at Wikimedia Commons
History of Mesopotamia
List of kings of Akkad
List of Mesopotamian dynasties

Notes
Passage 7:
Sennedjem
Sennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II  He lived in Set Maat (translated as "The Place of Truth"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes  Sennedjem had the title "Servant in the Place of Truth"  He was buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis  His tomb was discovered January 31, 1886  When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive His titles included Servant in the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs 

See also

TT1 – (Tomb of Sennedjem, family and wife)
Passage 8:
Place of origin
In Switzerland, the place of origin (German: Heimatort or Bürgerort, literally "home place" or "citizen place"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations  It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person's circumstances 

Acquisition of municipal citizenship
Swiss citizenship has three tiers  For a person applying to naturalise as a Swiss citizen, these tiers are as follows:

Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality 
Cantonal (state) citizenship, for which a Swiss municipal citizenship is required  This requires a certain number of years lived in said canton 
Country citizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen  
Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providing social welfare  The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence  Care needs to be taken when translating the term in Swiss documents which list the historical "Heimatort" instead of the usual place of birth and place of residence 
However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin  As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years  In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship 
A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place of origin  A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent 

International confusion
Almost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only their place of origin  The vast majority of countries show the holder's actual birthplace on identity documents  This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents  Only a minority of Swiss citizens have a place of origin identical to their birthplace  More confusion comes into play through the fact that people can have more than one place of origin 

Significance and history
A citizen of a municipality does not enjoy a larger set of rights than a non-citizen of the same municipality  To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence 
The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away  In 2012, the National Council voted by 151 to 9 votes to abolish this law  The place of domicile is now the sole payer of welfare costs In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%) In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by their residential community In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right to receive welfare 

See also
Ancestral home (Chinese)
Bon-gwan
Registered domicile


== Notes and references ==
Passage 9:
Place of birth
The place of birth (POB) or birthplace is the place where a person was born  This place is often used in legal documents, together with name and date of birth, to uniquely identify a person  Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones 
As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred  The place of birth is not necessarily the place where the parents of the new baby live  If the baby is born in a hospital in another place, that place is the place of birth  In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth 
Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents  For example, Sweden has used the concept of födelsehemort ("domicile of birth") since 1947  This means that the domicile of the baby's mother is the registered place of birth  The location of the maternity ward or other physical birthplace is considered unimportant 
Similarly, Switzerland uses the concept of place of origin  A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin  A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent  In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth  In Japan, the registered domicile is a similar concept 
In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli  Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis) 
There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise  The place of birth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country) 
Some administrative forms may request the applicant's "country of birth"  It is important to determine from the requester whether the information requested refers to the applicant's "place of birth" or "nationality at birth"  For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takes place 

Reference list
8 FAM 403 4 Place of Birth
Passage 10:
Motherland (disambiguation)
Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group 
Motherland may also refer to:

Music
"Motherland" (anthem), the national anthem of Mauritius
National Song (Montserrat), also called "Motherland"
Motherland (Natalie Merchant album), 2001
Motherland (Arsonists Get All the Girls album), 2011
Motherland (Daedalus album), 2011
"Motherland" (Crystal Kay song), 2004

Film and television
Motherland (1927 film), a 1927 British silent war film
Motherland (2010 film), a 2010 documentary film
Motherland (2015 film), a 2015 Turkish drama
Motherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh War
Motherland (TV series), a 2016 British television series
Motherland: Fort Salem, a 2020 American science fiction drama series

Other uses
Motherland Party (disambiguation), the name of several political groups
Personifications of Russia, including a list of monuments called Motherland

See also
All pages with titles containing Motherland
Mother Country (disambiguation)
Context 3: Passage 1:
Nusrat Bhutto
Begum Nusrat Bhutto (née: Nusrat Ispahani; Persian: ‌نصرت بوتو; Sindhi: نصرت ڀٽو; Urdu: نُصرت بُھٹّو; 23 March 1929 – 23 October 2011) was an Iranian-born Pakistani public figure of Kurdish origin, who served as the First Lady of Pakistan between 1971 until the 1977 coup, and as a senior member of the federal cabinet between 1988 and 1990 
She was born in Isfahan to a wealthy merchant family of Kurdish heritage and her family had settled in Bombay before moving to Karachi after the Partition of British India  Ispahani joined a paramilitary women's force in 1950, but left a year later when she married Zulfikar Ali Bhutto  She moved to Oxfordshire with her husband who then was pursuing his legal education  She returned to Pakistan alongside Bhutto who went on to serve as the Foreign Minister  After her husband founded the Pakistan Peoples Party, Ispahani worked to lead the party's women's wing  After Bhutto was elected as the Prime Minister in 1971, Ispahani became the First Lady of Pakistan and remained so until her husband's removal in 1977  Her daughter, Benazir Bhutto immediately succeeded her husband as the leader of the Pakistan Peoples party and, while under house arrest, fought an unsuccessful legal battle to prevent her husband's execution  After Bhutto's execution, Ispahani, along with her children, went into exile to London, from where in 1981 she co-founded the Movement for the Restoration of Democracy, a nonviolent opposition to Zia's regime Ispahani returned to Pakistan after her daughter Benazir made a comeback in 1986  After the People's Party's victory in 1988, she joined Benazir's cabinet as a minister without portfolio while representing Larkana District in the National Assembly  She remained in the cabinet until Benazir's government was dismissed in 1990  Afterwards, during a family dispute between her son, Murtaza, and her daughter, Benazir, Ispahani favored Murtaza leading Benazir to sack Ispahani as the party leader  Ispahani stopped talking to the media and refrained from political engagements after the assassination of her son Murtaza in 1996 during a police encounter, during her daughter's second government Ispahani moved to Dubai in 1996, suffering from Alzheimer's disease, she was kept out of public's eye by Benazir until her demise on 23 October 2011  In Pakistan, Ispahani is remembered for her contribution to empowerment of women in Pakistan and for advocating for democracy in Pakistan, for which she is dubbed as "Mādar-e-Jamhooriat" (English "Mother of Democracy"), a title she was honored with by the parliament following her death 

Early life, background and political career
Nusrat Ispahani was born on 23 March 1929 in Isfahan, Persia (now Iran)  Her father was a wealthy businessman who came from the wealthy Hariri family of merchants in Isfahan and was of partial Kurdish descent via his mother who came from Kurdistan Province  Shortly after her birth, the family later moved to British India, where they initially lived in Bombay and then moved to Karachi before the independence of Pakistan and the Partition of India in 1947  She grew up with Iranian traditions at her home but adapted to Indian Muslim culture outside  Before emigrating to Pakistan, Nusrat attended and was educated at the University of Karachi where she obtained a Bachelor of Arts (B A ) in Humanities in 1950 
As first lady from 1973 to 1977, Nusrat Bhutto functioned as a political worker and accompanied her husband on a number of overseas visits  In 1979, after the trial and execution of her husband, she succeeded her husband as leader of the Pakistan Peoples Party as chairman for life  She led the PPP's campaign against General Muhammad Zia-ul-Haq's regime  Alongside her daughter Benazir Bhutto, she was arrested numerous times and placed under house arrest and in prison in Sihala  Nusrat Bhutto was attacked by police with batons while attending a cricket match at Gaddafi Stadium in Lahore, when the crowd began to raise pro Bhutto slogans  In 1982, ill with cancer, she was given permission to leave the country by the military government of General Zia-ul-Haq for medical treatment in London at which point her daughter, Benazir Bhutto, became acting leader of the party, and, by 1984, the party chairman After returning to Pakistan in the late 1980s, she served two terms as a Member of Parliament to the National Assembly from the family constituency of Larkana, Sindh  During the administrations of her daughter Benazir, she became a cabinet minister and Deputy Prime Minister  In the 1990s, she and Benazir became estranged when Nusrat took the side of her son Murtaza during a family dispute but were later reconciled after Murtaza's murder  She lived the last few years of her life with her daughter's family in Dubai, United Arab Emirates and later suffered from the combined effects of a stroke and Alzheimer's disease 

Personal life, illness and death
Nusrat met Zulfikar Ali Bhutto in Karachi where they later got married on 8 September 1951  She was Zulfikar Ali Bhutto's second wife, and they had four children together: Benazir, Murtaza, Sanam and Shahnawaz  With the exception of Sanam, she outlived her children  Benazir's widower and Nusrat's son-in-law Asif Ali Zardari was the President of Pakistan from 9 September 2008 till 8 September 2013 Besides her native Persian, Bhutto was fluent in Urdu and Sindhi Bhutto was suspected of suffering from cancer in 1982, the year when she left Pakistan for medical treatment  For the last several years of her life, she had also been suffering from Alzheimer's disease  In the mid-1990s, particularly after the death of her son Mir Murtaza Bhutto in 1996, she withdrew from public life  Party sources suggest this may also have coincided with the time that she began to show symptoms of Alzheimer's  According to her senior party leader, Bhutto's disease was so advanced that she was even unaware of the assassination of her daughter, Benazir  She used a ventilator until her last days  She died at the age of 82 in the Iranian Hospital Dubai on 23 October 2011  Her body was flown to her hometown of Garhi Khuda Bakhsh in the Larkana District the next day, and was buried next to her husband and children in the Bhutto family mausoleum at a ceremony attended by thousands of mourners 

Further reading
Chandran, Ramesh (15 January 1983)  "I am afraid and fearing for Pakistan's future: Nusrat Bhutto"  India Today 
Hussain, Zahid (31 January 1994)  "Battle between Benazir Bhutto and her mother paralyses PPP Government"  India Today 

See also
Bhutto family
Zulfikar Ali Bhutto
Begum Nusrat Bhutto Women University
Begum Nusrat Bhutto Airport
Nusrat Bhutto Colony
Passage 2:
Dance of Death (disambiguation)
Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death 
Dance of Death or The Dance of Death may also refer to:

Books
Dance of Death, a 1938 novel by Helen McCloy
Dance of Death (Stine novel), a 1997 novel by R  L  Stine
Dance of Death (novel), a 2005 novel by Douglas Preston and Lincoln Child

Theatre and film
The Dance of Death (Strindberg play), a 1900 play by August Strindberg
The Dance of Death, a 1908 play by Frank Wedekind
The Dance of Death (Auden play), a 1933 play by W  H  Auden

Film
The Death Dance, a 1918 drama starring Alice Brady
The Dance of Death (1912 film), a German silent film
The Dance of Death (1919 film), an Austrian silent film
The Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph Dawson
The Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich von Stroheim
The Dance of Death (1967 film), a West German drama film
Dance of Death or House of Evil, 1968 Mexican horror film starring Boris Karloff
Dance of Death (1969 film), a film based on Strindberg's play, starring Laurence Olivier
Dance of Death (1979 film), a Hong Kong film featuring Paul Chun

Music
Dance of Death (album), a 2003 album by Iron Maiden, or the title song
The Dance of Death & Other Plantation Favorites, a 1964 album by John Fahey
The Dance of Death (Scaramanga Six album)
"Death Dance", a 2016 song by Sevendust

See also
Dance of the Dead (disambiguation)
Danse Macabre (disambiguation)
Bon Odori, a Japanese traditional dance welcoming the spirits of the dead
La danse des morts, an oratorio by Arthur Honegger
Totentanz (disambiguation)
Passage 3:
Where Was I
"Where Was I?" may refer to:

Books
"Where Was I?", essay by David Hawley Sanford from The Mind's I
Where Was I?, book by John Haycraft 2006
Where was I?!, book by Terry Wogan 2009

Film and TV
Where Was I? (film), 1925 film directed by William A  Seiter  With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran 
Where Was I? (2001 film), biography about songwriter Tim Rose
Where Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos
"Where Was I?" episode of Shoestring (TV series) 1980

Music
"Where was I", song by W  Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939
"Where Was I", single from Charley Pride discography 1988
"Where Was I" (song), a 1994 song by Ricky Van Shelton
"Where Was I (Donde Estuve Yo)", song by Joe Pass from Simplicity (Joe Pass album)
"Where Was I?", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)
"Where Was I", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002
"Where Was I?", song  by  Kenny Wayne Shepherd from Live On  1999
"Where Was I", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)
"Where Was I", song by Rosie Thomas from With Love (Rosie Thomas album)
Passage 4:
Ghinwa Bhutto
Ghinwa Bhutto (Urdu: غنویٰ بھٹو, Sindhi: غنوا ڀٽو, Arabic: غنوة بوتو; born Ghinwa Itaoui) is a Lebanese-Pakistani politician and the chairperson of Pakistan Peoples Party (Shaheed Bhutto)  She is the widow of Murtaza Bhutto, and the daughter-in-law and sister-in-law of the former Prime Ministers of Pakistan, Zulfiqar Ali Bhutto and Benazir Bhutto, respectively 

Background
Murtaza Bhutto and his daughter Fatima spent time in exile in Syria, where Murtaza first met Ghinwa  Ghinwa had fled from the Lebanese Civil War back home and migrated to Syria, where she used to give ballet classes in the basement of a church  Fatima was one of her students  Murtaza and Ghinwa would later marry in 1989, and had a son Zulfikar Ali Bhutto Jr in 1990 Ghinwa has been estranged from the powerful Bhutto family ever since she accused her sister-in-law Benazir Bhutto and her husband Asif Ali Zardari of conspiracy to the 1996 murder of her husband, and also accused Benazir and Zardari of corruption  Zardari was arrested as a suspect in the murder of Murtaza, but he was later released due to lack of evidence  Her husband's murderers were never brought to justice 

Politics
In 1997, Ghinwa staked a claim to the Bhutto political legacy  She formed the Pakistan Peoples Party (Shaheed Bhutto) (PPP-SB), becoming the chairperson of the party, and ran for election from Larkana on 3 February 1997  Benazir convinced her mother Nusrat Bhutto, then president of the Pakistan Peoples Party, to run against her  Though her opponent suffered from Alzheimer's disease, Ghinwa was defeated Ghinwa lives in the Bhutto family home in Karachi with her son Zulfikar Ali Bhutto Jr (named after his grandfather Zulfikar Ali Bhutto) and her step-daughter Fatima Bhutto  Prior to marrying Murtaza, Ghinwa worked as a ballet dancer and teacher In 2002, Pakistani election authorities rejected her candidacy for the October 10 election  Ghinwa was rejected on the grounds of not possessing the required minimum academic qualification of a university degree  In August 2007, Ghinwa Bhutto passed the BA exams from Punjab University in the First Division with 526 marks  Ghinwa, roll # 86604, appeared as a private candidate  To be eligible to contest elections, Ghinwa chose to take the Punjab University BA exam because the results were to be declared by the end of August, before the elections After the first suicide attack following Benazir's return to Pakistan in October 2007, Ghinwa remarked: "I think she has invited trouble herself " However, when Benazir was assassinated on December 27, 2007 Ghinwa put their differences aside  She attended the funeral with her step-daughter, Fatima Bhutto 

See also
Bhutto family
Politics of Pakistan
Pakistan Peoples Party (Shaheed Bhutto)
Passage 5:
Place of birth
The place of birth (POB) or birthplace is the place where a person was born  This place is often used in legal documents, together with name and date of birth, to uniquely identify a person  Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones 
As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred  The place of birth is not necessarily the place where the parents of the new baby live  If the baby is born in a hospital in another place, that place is the place of birth



ground_truth: Akkadian empire

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 Shahnawaz Bhutto's mother?

The following are given passages.
Context 3:  In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth 
Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents  For example, Sweden has used the concept of födelsehemort ("domicile of birth") since 1947  This means that the domicile of the baby's mother is the registered place of birth  The location of the maternity ward or other physical birthplace is considered unimportant 
Similarly, Switzerland uses the concept of place of origin  A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin  A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent  In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth  In Japan, the registered domicile is a similar concept 
In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli  Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis) 
There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise  The place of birth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country) 
Some administrative forms may request the applicant's "country of birth"  It is important to determine from the requester whether the information requested refers to the applicant's "place of birth" or "nationality at birth"  For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takes place 

Reference list
8 FAM 403 4 Place of Birth
Passage 6:
Beaulieu-sur-Loire
Beaulieu-sur-Loire (French pronunciation: ​[boljø syʁ lwaʁ], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France  It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars 

Population
See also
Communes of the Loiret department
Passage 7:
Sennedjem
Sennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II  He lived in Set Maat (translated as "The Place of Truth"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes  Sennedjem had the title "Servant in the Place of Truth"  He was buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis  His tomb was discovered January 31, 1886  When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive His titles included Servant in the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs 

See also

TT1 – (Tomb of Sennedjem, family and wife)
Passage 8:
Place of origin
In Switzerland, the place of origin (German: Heimatort or Bürgerort, literally "home place" or "citizen place"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations  It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person's circumstances 

Acquisition of municipal citizenship
Swiss citizenship has three tiers  For a person applying to naturalise as a Swiss citizen, these tiers are as follows:

Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality 
Cantonal (state) citizenship, for which a Swiss municipal citizenship is required  This requires a certain number of years lived in said canton 
Country citizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen  
Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providing social welfare  The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence  Care needs to be taken when translating the term in Swiss documents which list the historical "Heimatort" instead of the usual place of birth and place of residence 
However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin  As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years  In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship 
A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place of origin  A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent 

International confusion
Almost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only their place of origin  The vast majority of countries show the holder's actual birthplace on identity documents  This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents  Only a minority of Swiss citizens have a place of origin identical to their birthplace  More confusion comes into play through the fact that people can have more than one place of origin 

Significance and history
A citizen of a municipality does not enjoy a larger set of rights than a non-citizen of the same municipality  To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence 
The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away  In 2012, the National Council voted by 151 to 9 votes to abolish this law  The place of domicile is now the sole payer of welfare costs In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%) In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by their residential community In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right to receive welfare 

See also
Ancestral home (Chinese)
Bon-gwan
Registered domicile


== Notes and references ==
Passage 9:
Shahnawaz Bhutto
Shahnawaz Bhutto (November 21, 1958 – July 18, 1985; Sindhi: شاھنواز ڀٽو) was the son of Zulfiqar Ali Bhutto, the former President and Prime Minister of Pakistan from 1971 to 1977 and Begum Nusrat Bhutto, who was of Kurdish descent  Shahnawaz Bhutto was the youngest of Bhutto's four children, including the former Prime Minister of Pakistan Benazir Bhutto  Shahnawaz was schooled in Pakistan (at the Aitchison College in Lahore and Rawalpindi American School - renamed the International School of Islamabad (ISOI) in 1979, after the school was stormed during the uprising), where he graduated in 1976 and later travelled abroad to complete his higher education 
Shahnawaz was studying in Switzerland when Zia ul Haq's military regime executed his father in 1979  Prior to the execution, Shahnawaz and his elder brother Murtaza Bhutto had embarked on an international campaign to save their father's life, but it was to no avail  The two brothers continued to resist the military abrogation of the 1973 constitution in exile 
Shahnawaz and his brother Murtaza Bhutto, both married two Afghan sisters, Rehana and Fauzia  After the alleged involvement of Shahnawaz's wife Rehana in the murder of Shahnawaz, Murtaza Bhutto divorced his wife 
On  July 18, 1985, the 26-year-old Shahnawaz was found dead in Nice, France  He died under mysterious circumstances, and the Bhutto family firmly believed he was poisoned  No one was brought to trial for murder, but Shahnawaz's wife Rehana was considered a suspect by the French authorities and remained in their custody for some time  She was found not guilty and later allowed to travel, and went to the United States  Pakistani media, which was under Zia's control, attributed  death to drug and alcohol abuse 
Shahnawaz is believed to have helped organize a group dedicated to overthrowing the regime of President Mohammed Zia ul-Haq, through links to Al-Zulfiqar increasingly active in Pakistan at that time  The funeral of Shahnawaz turned into a defiant show of opposition to Zia's military rule  It was held in a Larkana sports stadium, attended by an estimated 25,000 people  He is buried at the Bhutto family mausoleum in Garhi Khuda Baksh in Sindh  Shahnawaz's daughter Sassi Bhutto lives with her mother in the United States 

Sources
Riaz, Bashir (18 July 2014)  "Remembering Shahnawaz Bhutto"  The International News  Pakistan 
Crossette, Barbara (25 September 1990)  "Bhutto's Hunted Brother Is Hoping to Return"  The New York Times 
Fathers, Michal (17 October 1993)  "The Bhutto inheritance"  The Independent  UK  Archived from the original on August 30, 2009 

External links
Chandran, Ramesh (August 15, 1985)  "Tragedy continues to stalk Bhutto clan with mysterious death of Shahnawaz in Cannes"  India Today 
Passage 10:
Motherland (disambiguation)
Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group 
Motherland may also refer to:

Music
"Motherland" (anthem), the national anthem of Mauritius
National Song (Montserrat), also called "Motherland"
Motherland (Natalie Merchant album), 2001
Motherland (Arsonists Get All the Girls album), 2011
Motherland (Daedalus album), 2011
"Motherland" (Crystal Kay song), 2004

Film and television
Motherland (1927 film), a 1927 British silent war film
Motherland (2010 film), a 2010 documentary film
Motherland (2015 film), a 2015 Turkish drama
Motherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh War
Motherland (TV series), a 2016 British television series
Motherland: Fort Salem, a 2020 American science fiction drama series

Other uses
Motherland Party (disambiguation), the name of several political groups
Personifications of Russia, including a list of monuments called Motherland

See also
All pages with titles containing Motherland
Mother Country (disambiguation)



ground_truth: Dubai