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

Question: Which film has the director who died earlier, Il Gaucho or Bomgay?

The following are given passages.
Context 1: Passage 1:
Brian Kennedy (gallery director)
Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States   He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020  He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019  He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004 

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

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

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

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

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

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

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

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


== Notes ==
Passage 2:
G  Marthandan
G  Marthandan is an Indian film director who works in Malayalam cinema  His debut film is Daivathinte Swantham Cleetus

Early life
G  Marthandan was born to M  S  Gopalan Nair and P  Kamalamma at Changanassery in Kottayam district of Kerala  He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College, Changanassery 

Career
After completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995  His next work was British Market, directed by Nissar in 1998  He worked as an associate director for 18 years He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role  His next movie was in 2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles  Daivathinte Swantham Cleetus and Paavada were box office successes 

Filmography
As director
As associate director
As actor
TV serialKanyadanam (Malayalam TV series) - pilot episode

Awards
Ramu Kariat Film Award - Paavada (2016)
JCI Foundation Award - Daivathinte Swantham Cleetus (2013)
Passage 3:
Riyad Vinci Wadia
Riyad Vinci Wadia (19 September 1967 – 30 November 2003) was an Indian independent filmmaker from Bombay, known for his short film, BOMgAY (1996), possibly the very first gay themed movie from India  Born into the filmmaking Wadia family, he inherited the production company Wadia Movietone which is known for the Fearless Nadia movies which are one of their kind in the superwoman and stunt genre when other movies of their time usually portrayed women in submissive roles   Wadia is also known for his award-winning documentary on Nadia, Fearless: The Hunterwali Story (1993), which was written about in Time magazine and made a name for Riyad at the very outset of his brief but impactful career 

Personal life
Riyad was born in Bombay to Nargis and Vinci Wadia, son of the legendary filmmaker JBH Wadia who was one of the founding fathers of stunt films and mythological films in India  The latter's production firm, Wadia Movietone, which Riyad would later inherit, launched into the Indian film industry (later known as Bollywood) the Australian actress Mary Evans who was known popularly as 'Fearless Nadia'  Riyad did his schooling at Bombay International School, briefly attended St  Xavier's College, and later went to Australia to the Charles Sturt Film School in Wagga Wagga  Riyad was openly gay, and BOMgAY was India's first overtly gay-themed film 

Recognition
Nicknamed as 'The Turk' of the Indian Independent cinema, Riyad's films are still being referred to in many books about Bollywood, be it gay themes in Indian Cinema, or the ones about JBH Wadia and Fearless Nadia  His first documentary, Fearless : The Hunterwali Story, which is based on the life of Mary (aka Nadia) Wadia, got screened at over 50 international film festivals, such as The Berlin International Film Festival (1994) and The London Film Festival (1993)  The short film, BOMgAY, with shooting locations such as the gay cruising spots of the Victoria Terminus urinals and the Bombay local tracks along which people defecate, was described as "part Bollywood, part Genet"  The film, based on the gay-themed poetry of the Poona-based R  Raj Rao, explored the underground gay subculture of Bombay and marked the entry of queer themes into Indian Cinema  The film had a limited release in India, thanks to its explicit content  It got screened at a number of international film festivals and finds mention in the research works on the history of queer themes in Indian Cinema as the first queer themed film from India An award has been instituted in his memory by his mother and brother at the KASHISH Mumbai International Queer Film Festival and awarded every year since 2011  The Riyad Wadia Award for Best Emerging Indian Filmmaker is given to first or second time filmmaker whose LGBTQ+ short film is being screened at the festival 

Final years
Riyad tested positive for HIV in 1995  Though he was quite capable of affording the then expensive HIV medication, he refused to be on any kind of dosage  He left India shortly after the production of BOMgAY, supporting himself with petty jobs in New York and writing a regular column for The New Indian Express  Things got difficult post 9/11, with not many jobs available, forcing him to get back to Bombay  Riyad was lost to stomach tuberculosis on 30 November 2003, in Bombay  At the time of his death, he was in the process of generating funds for his supposed first full-length film (unfinished), Naked Rain, based on R  Raj Rao's novel, Boyfriend   "He made a very important contribution to the gay cause and was one of the central figures to begin the broad-basing of the gay movement in India," says gay activist Ashok Row Kavi  The Riyad Wadia Award for Best Emerging Indian Filmmaker was instituted with funding from Wadia Movietone (through Riyad's brother Roy) in 2011 by Kashish, the noted international queer film festival held annually in Bombay 

Works
Films
Fearless : The Hunterwali Story (1993)
Bomgay (1996)
A Mermaid called Aida (1996)
Writings
Long Life of a Short Film: The Making of BOMgAY
Wadia also wrote columns for The New Indian Express 
Passage 4:
Abhishek Saxena
Abhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu  The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role  Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film  This film was screened in cinemas in 2014 

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

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

Filmography
As Director
Passage 5:
Dino Risi
Dino Risi (23 December 1916 – 7 June 2008) was an Italian film director  With Mario Monicelli, Luigi Comencini, Nanni Loy and Ettore Scola, he was one of the masters of commedia all'italiana 

Biography
Risi was born in Milan  He had an older brother, Fernando, a cinematographer, and a younger brother, Nelo (1920–2015), a director and writer  At the age of twelve, Risi became an orphan and was looked after by relatives and friends of his family  He studied medicine but refused to become a psychiatrist, as his parents wishedRisi started his career in cinema as an assistant director to cinema figures such as Mario Soldati and Alberto Lattuada  Later he began directing his own films and was credited with giving early opportunities to future acting stars such as Sophia Loren and Vittorio Gassman  His 1966 film Treasure of San Gennaro was entered into the 5th Moscow International Film Festival where it won a Silver Prize His biggest hits were Poor, But Handsome (Poveri ma belli), followed by two sequels, which he also directed; A Difficult Life (Una vita difficile); The Easy Life (Il sorpasso); Opiate '67 or, in a cut version, 15 From Rome (I Mostri); and Scent of a Woman (Profumo di Donna), which was remade by Martin Brest starring Al Pacino in 1992 In 2002, he was awarded the Golden Lion – Honorary Award (Leone d'oro alla carriera) at the Venice Film Festival for his life-time work  Two of his films, Il giovedì and Il commissario Lo Gatto, were shown in a retrospective section on Italian comedy at the 67th Venice International Film Festival He died on 7 June 2008 at his residence in Rome  He was 91 and was survived by two children, Claudio Risi (1948–2020) and Marco Risi (1951), both film directors 

Filmography
Passage 6:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director 
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020)  Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015) 

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness  He attended Chetwynde School His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis  Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively 

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)
Passage 7:
Bomgay
Bomgay is a 1996 Indian anthology of short films directed by Riyad Vinci Wadia and Jangu Sethna  The film stars Kushal Punjabi and Rahul Bose with music by Ashutosh Phatak  It is often regarded as India's first gay film and is known for its  gay sex scene in a library  Bomgay consists of six segments, each based on a poem by Indian writer R  Raj Rao 

Segments
"Opinions"
"Underground"
"Lefty"
"E unema no"
"Bomgay"
"Friends"

Cast
Rahul Bose as The Lefty
Kushal Punjabi as The Sodomiser
Tarun Shahani as Enema Boy
R  Raj Rao as The Opinionated
Farud Cambata as Bombay Dost
Freddy Firoze as Muthree Rani
Eric Rosenbaumm as Sex Tourist

Production
In 1995 Riyad Vinci Wadia, having released his debut film Fearless, decided to make a film based on gay culture in Bombay  He read R  Raj Rao's poetry collection One Day I Locked My Flat in Soul City and invited him to collaborate on a film script with him  It was difficult to find funding for the film in India, so the project was temporarily put on hold until Wadia read Rao's newest work, a collection of poems called "Bomgay"  He decided to make a low-budget short film based on the poems  As "Bomgay" had a limited budget of Rs  500,000, Wadia planned to use friends from the gay community to help keep costs down  He discovered that this was difficult as people were afraid of being outed if they worked on the film, so he enlisted the help of his friends from the Bombay advertising industry instead  Wadia secured Rahul Bose for the lead role  The film was shot in Bombay with scenes taking place in railroad cars shot guerrilla style  In order to shoot footage of a gay sex scene, the crew pretended that they were making a public service film on ragging  The film was not released commercially in India as Wadia did not submit it to the Censor Board, believing that they would refuse it a certificate 
Passage 8:
Drew Esocoff
Drew Esocoff (born c  1957) is an American television sports director, who as of 2006 has been the director of NBC Sunday Night Football 

Early life
Esocoff was born in Elizabeth, New Jersey, graduating from Thomas Jefferson High School in 1975, later attending Colgate University  While in college he worked as a substitute teacher at Elizabeth High School where one of his students was Todd Bowles 

Career
Esocoff has worked for ESPN and ABC, serving as director for Monday Night Football, SportsCenter, and the NBA Finals, as well as five Super Bowls  Since 2006, he has served as director for NBC Sunday Night Football 
As of 2015, Esocoff has won 11 Emmy Awards 
Passage 9:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director  He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977)  His television work includes four episodes of The Twilight Zone (1961–1964) 

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century  The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin 
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire 
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt 
While Silverstein was not a prolific director, his films were often decorated  Cat Ballou, for instance, earned one Oscar and was nominated for four more  His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America 

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou 
He was also nominated for the Golden Berlin Bear In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou) 
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris In 1985, he won the Robert B  Aldrich Achievement Award from the Directors Guild of America 
In 1990, he was awarded the DGA Honorary Life Member Award 

Personal life
Silverstein has been married three times, each ending in divorce  His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968  His second marriage was to Alana King  During his first marriage, he was the step-father of David Cassidy 
He currently lives in North Hollywood, Los Angeles  Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects 

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr  Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)
Passage 10:
Il Gaucho
Il Gaucho (internationally released as The Gaucho) is a  1964 Italian comedy film directed by Dino Risi  It was co-produced by Clemente Lococo, an Argentinian production company, and in Argentina it was released as Un italiano en la Argentina  For his role in this film Nino Manfredi won a Grolla d'oro for best actor 

Cast
Vittorio Gassman as Marco Ravicchio
Amedeo Nazzari as Ingegnere Marucchelli
Nelly Panizza as Ines Marucchelli
Jorgelina Aranda: Italia Marucchelli
Umberto D'Orsi as Gianni Pertini
Maria Grazia Buccella as Mara
Annie Gorassini as Lorella
Guido Gorgatti as Giulio
Norberto Sánchez Calleja as Cecilio
Maria Fiore as Maria
Francesco Mulè as Fiorini
Nora Cárpena as Lida
Nino Manfredi as Stefano
Silvana Pampanini as Luciana
Nando Angelini as Aldo
Nelly Tesolín as Prostitute
Aldo Vianello
Vicky Astori
Amparito Castro
Mario Mario
José Del Vecchio
Rafael Diserio
Carmen Pericolo
Context 2: Passage 1:
Paul De Weert
Paul De Weert (born 27 November 1945) is a Belgian rower  He competed at the 1972 Summer Olympics and the 1976 Summer Olympics 
Passage 2:
Paul de Longpré
Paul de Longpré (1855–1911), was a French painter of flowers, who worked mainly in the United States 

Early life
Paul de Longpré was born in Lyon, France, in 1855, and was an entirely self-taught artist  From age 12, he practiced successfully in Paris as a painter of fans  In 1876, at 21, he first exhibited at the Paris Salon  Having lost his money by the failure of a Paris bank, he moved in 1890 to New York City and in 1896 held an exhibition of flower paintings which secured him instant recognition 

Life in Hollywood
De Longpré arrived in Los Angeles, Southern California with his family in 1899  Daeida Wilcox, with husband H  H  Wilcox the founders of Hollywood, was so eager to attract culture to the town that she gave him her homesite for his estate, three lots on Cahuenga on the north of Prospect (later Hollywood Boulevard), in exchange for three of his paintings In 1901, Canadian architect Louis Bourgeois designed a landmark residence for the 3 acres (1 2 ha) estate, in the Mission Revival style  The house included an art gallery to sell prints of de Longpré's paintings, and was surrounded by the expansive "Le Roi de Fleur" flower gardens  Estate tours became a popular tourist destination off an exclusive Balloon Route trolley spur of the Los Angeles Pacific Railroad, that later became a Pacific Electric Redcar line, and with print sales additional sources of income for de Longpré Paul de Longpré is listed in the 1900 US Census, Los Angeles City Ward 5, Precincts 38 B and 73 A, with his wife Josephine and daughters Blance, Alice, and Pauline  His occupation is listed as Artist, but the last name is misspelled as De Lonpre, It indicates Paul, Josephine, Blance, and Alice were born in France, and Pauline was born in New York City  The architect Louis Bourgeois also taught French to de Longpré's daughters, and later married his daughter Alice Paul de Longpré died at home in Los Angeles at age 56, on 29 June 1911 Afterwards, the family moved back to France  The increased property values in rapidly developing Hollywood resulted in demolition of the gardens by 1924, and the house in 1927 

Works
De Longpré only painted specimens of flowers  With a delicacy of touch and feeling for color he united scientific knowledge and art  He also knew how to give expression to the subtle essence of the flowers  Painting floral scenes almost exclusively in watercolors, in the 1900s de Longpre found inspiration in the 4,000 rose bushes he planted on his Hollywood estate  The finest of his paintings include Double Peach Blossoms and White Fringed Poppies (1902) – both widely known through popular reproductions 

Legacy
In present-day Hollywood, the street De Longpre Avenue, and De Longpre Park on it are both named for him 
Passage 3:
Paul de Scherff
Paul de Scherff (14 July 1820 – 22 July 1894) was a Luxembourgian politician 
De Scherff was born in Frankfurt to F  H  W  von Scherff-Arnoldi, who was minister plenipotentiary of the King-Grand Duke to the German Federal Diet   After studying law, Paul de Scherff came to Luxembourg  For six years he was avocat géneral, and later became president of the superior court, at the age of 34  From 24 June 1856 to 11 November 1858 he was Administrateur général (Minister) for Public Works and Railways in the Simons Ministry  From 1869 to 1871, and then again from 1886 to 1892 he was a member of the Chamber of Deputies for the Centre, and was President of the Chamber of Deputies from 1869 until 1872 When the walls of the fortress of Luxembourg were demolished in the 1870s and 1880s, Paul de Scherff was working in the ministry of public works, where he dealt with the building of the municipal parks 
He married Marie Pescatore on 14 September 1842, daughter of Constantin Jos  Antoine Pescatore and niece of Theodore Pescatore   De Scherff was a practising member of the Reformed Church 

Footnotes
Passage 4:
Paul de Cordon
Paul de Cordon (born in 1908 in Toulouse - died in 1998 in Paris) was a French photographer known for his photographs of the circus and the Crazy Horse Saloon  He was also recognized for his portraits and his nudes for which he was, in 1964, considered one of the greatest photographers in the world together with Guy Bourdin and Lucien Clergue  He produced portraits of many personalities such as Johnny Hallyday, Gilbert Bécaud, Mireille Darc, Jacques Brel, Fernand Raynaud, Anna Karina, Samy Davis Jr , Jeanne Moreau, Steve McQueen and his long-time friends, Daniel Sorano and Jacques Dufilho as well as Gonzague Saint Bris with whom he was very close  and who nicknamed him “The Toulouse-Lautrec of photography’’  In 1961 he participated alongside Edouard Boubat, Agnès Varda, Man Ray, Frank Horvat, William Klein and Robert Doisneau in the mythical exhibition "Metamorphosis and invention of a face" around the portrait of Anne- Marie Edvina  He was also an equestrian, fashion and advertising photographer, notably for Nikon and Beaulieu  He collaborated with Europe 1 in the years 1960/70  Paul de Cordon even tried his hand at television by co-presenting the Cirques du Monde program with Jean Richard on channel A2  His works are present in prestigious collections such as those of the National Library of France (BNF), the Rodin museum and W M  Hunt 

Early years
Paul de Cordon was born in Toulouse  His father, Comte Pierre de Cordon, was a cavalry officer; his mother, Marthe de Boyer-Montegut, a cultivated, book-loving woman, was the daughter of Paul de Boyer- Montégut, who, for many years, was mayor of Cugnaux, near Toulouse, where he owned the château de Maurens 
It was in Maurens that Paul de Cordon, as a child, spent his holidays and it was there that he discovered horses which were to become one of the great passions of his life  His grandfather Boyer-Montegut was what was the French call, a “Homme de cheval’’ whose four-in-hand teams were renowned in Toulouse and across the region  As a child, he also lived for several years in Mainz (Germany), where his father was stationed after the First World War  It was around this time that he started taking pictures with a small camera, a gift from his parents  He learned the basic techniques from an old German photographer during long hours spent in his shop 
It was also in Germany where his attraction to the circus was born  The large travelling circuses, like Althoff, then crisscrossed the country with quality shows and numerous animals 
As a teenager, he was a boarder in a Paris school  He was then able to discover a very intense artistic and cultural life thanks to his aunt, the Marquise du Crozet, his mother's elder sister  He attended performances by Serge de Diaghilev's Ballets Russes which, after the war, came on tour every year to Paris  He went to the theater and visited exhibitions with his first cousin, Aimar du Crozet, who was much older than him and took him "under his wing" to serve as his guide to the Paris of the 1920s  Aimar du Crozet also had a passion for horses and races  He was the owner of Master Bob, who won the 1924 Paris Grand Steeple Chase * and who became so famous an athlete that he is mentioned by Ernest Hemingway at the start of his book ‘’Death in the Afternoon’’ 
After his studies Paul de Cordon enlisted in the 18th Dragons cavalry regiment  More than a true military vocation, it was once again the love of horses that motivated him 
At that time almost all the cavalry regiments were mounted and each maintained and trained horses to enter in show jumping events and steeple chases, in which both officers and noncommissioned officers participated  In the 1930s, he thus took part in dozens of races on tracks in France and across Europe 
After the 18th Dragons he was assigned to the 2nd Hussards, in Tarbes, the “Chamborant’’, where he continued his favorite activities; training and riding horses  By an amusing coincidence, his great-grandmother on his mother’s side was Louise de Séganville, daughter of Colonel Baron de Séganville who had been the regiment’s commanding officer between 1813 and 1815 
It was at the 2nd Hussards that he had two encounters that would mean a lot in his life  He befriended Jacques Dufilho who, after interrupting his studies in dental prosthesis, had signed an eighteen-month enlistment contract  * Dufilho will become one of his dearest friends when they meet again after the war  There he also meets Jean Devaivre who completed his military service at “Chamborant’’  Jean Devaivre then went to work in cinema and became a great director, it was he who enabled Paul de Cordon, after the war, to embark on a new life 
Devaivre was not only a cineaste but also an authentic character actor: working during the occupation for the German group Continental Films in Paris, he was at the same time a very active member of the French resistance  His exploits include flying from the Nevers region to London clandestinely after having made the journey from Paris to Nevers in the afternoon    by bicycle  Bertrand Tavernier's film “Laissez-passer’’ is directly inspired by his life, as recounted in his autobiography, “Action’’ 
In 1939, the 2nd Hussards broke up into reconnaissance groups which took part in the 1940 battles on the Ardennes front, * Paul de Cordon participated in these actions in a mounted squadron and was taken prisoner by the Germans  He ended his captivity in the fortress of Colditz where he was liberated by the US military on April 16, 1945 
In 1945 he married Dilette de Rigaud de Vaudreuil and they had three children  He remained in the army for a few more months and was assigned to the Cadre Noir in Saumur 

Second life
After a few months in Saumur, he decided to leave the army  In 1947 Jean Devaivre who had just directed “La dame d’onze heure" with Paul Meurisse, a film of astonishing modernity, offered him a job as his assistant and Paul de Cordon accepted 
He was Devaivre’s first assistant director for “La ferme des sept péchés" ( he was also the stuntman for scenes on horseback) and for "Vendetta en Camargue" where he reunited with Jacques Dufilho  At that time, in addition to being a stuntman he was also an acrobatic and burlesque dancer 
At the beginning of the 1950s, Paul de Cordon decided to become a professional photographer  He set up a studio in Paris and started developing relations with various clients in the press, advertising agencies, fashion designers, show business    
He also began to develop a large-scale personal project on the circus and the Crazy Horse Saloon cabaret  He spent many nights with his camera at Medrano, at the Bouglione brothers' Cirque d’Hiver and at the Crazy Horse Saloon  Until the 1990s he also traveled the world to visit
circuses and bring back photos  Over these years, he has developed close ties with the great dynasties of the circus ring : Schumann, Rancy, Knie, Gruss, Bouglione, Houcke, Medrano, Fratellini etc     In all these families the horse occupied a central role in their performances  This equestrian culture and Paul de Cordon’s experience as a horseman facilitated and consolidated links with all these artists and strengthened their mutual confidence and friendship  His taste for spectacle, ballets and theater helped him to appreciate and better understand the work represented by all these artists  During these years, in addition to his work as a photographer, Paul de Cordon wrote a lot about the circus and this is how the Swiss magazine “L’Année Hippique" often published his articles on horses and circus equestrians 

Circus instants
"Faced with this obstinate pursuit of the perfect gesture, I understood that I was living there what I had always sought: a circus moment"  “Instants de Cirque’’ is the title of Paul de Cordon's most famous book, which brings together a selection of images taken over more than thirty years and which he considered particularly representative  The book was edited by Bernard de Fallois who was also a circus lover and an admirer of Paul de Cordon's photos 
This book, published in 1977 by Le Chêne, allows us, with hindsight, to better understand the originality and peculiarity of Paul de Cordon’s photos  The circus is a subject that has greatly inspired photographers attracted by the spectacular and flashy nature of the circus ring  But there is no flashiness in the photos that appear there, they are intimate, shrouded in mystery, charged with a secret emotion  A photo of Gilbert Houcke with his tiger Prince illustrates their peculiarity well: there is no circus ring nor lights, we are backstage, the tamer wears a worn bathrobe, there is a sort of semi-darkness which brings out the eye of the tiger and his outstretched paw, claws extended, which he offers to the caress of the human hand  Few images make you feel with as much force the reciprocal respect and the affection that there can be between a wild beast and his tamer but also the formidable danger, the courage it takes to face it and the amount of work and humility that represent a successful act  This photo may not be what people call a circus photo, but it illustrates what Paul de Cordon called the “instant de cirque’’  Paul de Cordon had a great admiration for tamers and loved wild animals  He liked to enter their cages, accompanied by the tamer of course  He also
chose to include on the jacket of his book, a photo of himself with the lionesses of Georges Marck, wearing the uniform of the 2nd Hussards  The photo was shot by his brother, Benoît de Cordon 
Paul de Cordon was passionately fond of the circus, but he did not like being labeled as a circus photographer because the documentary aspect often linked to that genre and most often sought after by circophiles, was of no interest to him  What he was interested in and what he wanted to express in his photos was, he said, “the peculiarity of an artist, the very core of his art’’  He had an exceptional talent for capturing what others didn't always see, which is probably why so many circus performers wanted to be photographed by him 

Crazy Horse Saloon
Paul de Cordon met Alain Bernardin at the very beginning of the Crazy Horse Saloon The old coal cellar on the avenue George V had just been converted into a micro cabaret  The former antique dealer who invented the most cerebral strip show in the world and the recently converted cavalry officer shared a common aversion for rules and conventions and were both attracted to show business and pretty women  The friendship between them that lasted many years was punctuated with sulking  They both had a touch of dandyism and a taste for beautiful fabrics and bespoke suits which led them to share a Russian tailor before he emigrated to Hollywood to dress movie stars  Paul de Cordon took hundreds of photos at the Paris cabaret which illustrate the long history of the place   There are also many images shot in the dressing rooms  They are more intimate, devoid of any sort of voyeurism and translate the total confidence of the dancers This part of his work is less well known as it reveals a different face of his talent 

Portraits
Paul de Cordon is not considered a portrait photographer and yet, one realizes when looking at his work, that he also excelled in this particular art as evidenced by portraits of his friends the Gruss brothers, Alexis and André, of the clown Pipo and of Jean Houcke  His striking portrait of the actor Jacques Dufilho, in a black leather coat captures all the austerity and intelligence of this comedian  His portraits of pop stars are of interest in that they totally ignore the canons of the yé-yé aesthetic
imposed by the iconic music magazine « Salut les copains » (Hello mates) 
Paul de Cordon worked regularly for advertising, fashion, and the press 
In advertising he worked for Nikon and Beaulieu shooting their ads and catalogues for several years 
In the press he began working for horse magazines  During the 60’s he did many jobs for the music press and for record companies including photos of pop groups, yé-yé stars, or even latin music groups (Chaussettes noires, Johnny Hallyday, Hugues Aufray, Françoise Hardy, Sylvie Vartan and los Machucambos) 
He was also involved in fashion photography and participated for several years in the July fashion show marathons when Paris studios were overbooked for night photoshoots 

3 zebras
In the contemporary world, images are everywhere, and some photos are more famous than their photographers  Everyone knows “Le baîser de l’hôtel de Ville’’ by Robert Doisneau, “Death of a republican soldier’’ by Robert Capa, or “Dovima and the elephants" by Avedon  Paul de Cordon most famous photo, undoubtedly, is “Three zebras’’ which has been presented in all his exhibitions and appears, of course, in Instants de Cirque although it was not shot in a circus but at the Amsterdam Zoo in 1957  This photo was published worldwide, including in the American edition of Life in March 1962 
Paul de Cordon died in March 1998 in Paris, two years before his wife, Dilette, who had accompanied him to circuses around the world  They are buried in Verneuil in the Nièvre  Paul de Cordon is the grandfather of Pierre-Elie de Pibrac, a photographer known in
particular for his work on the Paris Opera  Photos from his book “In Situ’’ (2014) have been exhibited in France and around the world  It was thanks to his grandfather with whom he was very close, that Pierre-Elie de Pibrac developed his vocation for photography 

Books by Paul de Cordon
Girls of the Crazy Horse Saloon Verlagspresse 1971
Instants de Cirque Edition du chêne 1977
Le Cadre Noir Julliard 1981
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Paul De Keyser
Paul De Keyser (born 7 February 1957) is a former Belgian racing cyclist  He rode in the 1980 Tour de France 
Passage 6:
Catherine I of Russia
Catherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr  Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr  Márta Samuílovna Skavrónskaya; 15 April [O S  5 April] 1684 – 17 May [O S  6 May] 1727) was the second wife and empress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727 

Life as a servant
The life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Great himself  Only uncertain and contradictory information is available about her early life  Said to have been born on 15 April 1684 (o s  5 April), she was originally named Marta Helena Skowrońska  Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents  In 1680 he married Dorothea Hahn at Jakobstadt  Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer  It is likely that two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect  Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was a runaway landless serf
Context 3: Passage 1:
Robert Hartford-Davis
Robert Hartford-Davis (born William Henry Davis, 23 July 1923 – 12 June 1977) was a British born producer, director and writer, who worked on film and television in both in the United Kingdom and United States   He is also sometimes credited as Michael Burrowes or Robert Hartford 

Biography
Hartford-Davis was born in Ramsgate, Kent in 1923 as William Henry Davis; he changed his name on becoming a television director in 1955  His television career encompassed drama, comedy and entertainment shows  Bob, as he liked to be called, started his career as an electrician in a South London film studio, where he went on to develop his skills as a cameraman  During the fifties he made a number of short films  These were innovative with the choice of cast and script content  In the late fifties he became an agent and worked for Roy Rogers, amongst others (in England) 
His talents included co-writing many scripts for 'exploitation' movies and he used media events and people to forward his career  The Yellow Teddy Bears is a prime example of his vivid imagination, using an article in a national newspaper as fodder 
Robert dealt with the downturn of the film industry in the UK by investing his own money in two movies, The Fiend and Nobody Ordered Love 

Personal life
Hartford-Davis married Betty Hale in 1943 and there were three children from this marriage;  Jean, Marian and Penelope were born in the next ten years  His wife also co-wrote I'm Not Bothered and an innovative play on the trial of Christ, We the Guilty  Robert and Betty were divorced in 1957  Robert went on to marry three or four more times  There was also another son, Scott Hartford-Davis, born in the late fifties 
Robert died on 12 June 1977 from a massive stroke 

Filmography
1956: I'm Not Bothered (TV series)
1960: Police Surgeon (TV series)
1962: Crosstrap
1963: That Kind of Girl
1963: The Yellow Teddy Bears
1964: The Black Torment
1964: Saturday Night Out
1965: Gonks Go Beat
1966: The Sandwich Man
1968: Corruption
1969: The Smashing Bird I Used to Know (a k a  School for Unclaimed Girls)
1971: Nobody Ordered Love
1971: Incense for the Damned
1972: The Fiend
1972: Black Gunn
1974: The Take
1977: Dog and Cat (TV series)

External links
Robert Hartford-Davis at IMDb
Robert Hartford-Davis at Hollywood com
Passage 2:
Logan Sandler
Logan Sandler is an American writer and director who is best known for his first feature film Live Cargo 

Early life and education
Sandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B A  in Film Production, and three years later, while earning an M F A  from AFI in Film Directing, he developed his first feature film, Live Cargo  He developed the script with the late Seth Winston and co-writer Thymaya Payne  In 2015, Sandler was awarded the Institute's Franklin J  Schaffner Fellow Award for his short film, Tracks 

Career
Sandler's senior thesis, All It Will Ever Be premiered at the Bermuda International Film Festival in 2012  Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival  The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016  The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom  In addition to the 2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single Gas  The music video premiered on Vice’s music channel Noisey IONCINEMA com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema  When asked about his favorite films of his formative years Sandler said, "I fell in love with Jean Luc Godard’s Contempt and Weekend  I was blown away by Agnes Varda’s Cleo from 5 to 7  Michelangelo Antonioni’s films really struck a chord with me as well  After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find  The Passenger’s penultimate shot blew me away  I watched that 7 minute shot over and over  It’s probably my favorite shot in the history of cinema "

Critical reception
Angelica Jade Bastien for Roger Ebert wrote of the film, "In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions "Chuck Wilson for The Village Voice wrote, "The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach ” Wilson as well called Sandler "a filmmaker to watch "Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft ”  Walsh gave the film an A - grade Stephen Saito for The Moveable Fest in his review and interview wrote, "While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey ”H  Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come ”Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects ”

Awards/Nominations
Passage 3:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director 
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020)  Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015) 

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness  He attended Chetwynde School His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis  Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively 

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)
Passage 4:
Scotty Fox
Scott Fox is a pornographic film director who is a member of the AVN Hall of Fame 

Awards
1992 AVN Award – Best Director, Video (The Cockateer)
1995 AVN Hall of Fame inductee
Passage 5:
Dan Milne
Dan Milne is a British actor/director who is possibly best known for his role in EastEnders 

Career
He started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty  He then appeared in EastEnders as David Collins, Jane Beale's dying husband 
As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally, culminating in a Broadway run at the New Victory Theater  Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various cities across the world  In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat 
Passage 6:
Season of Strangers
Season of Strangers (sometimes referred as haiku film) is 1959 unfinished American 16 mm black and white Avant-garde-experimental short film directed by Maya Deren 

Production
The film began as a part of Deren's workshop which took place in Woodstock, New York, during July 6 to July 25 in 1959  Deren after claimed that the location was important for the structure of the film  Also the lyrical aspect of Japanese Haiku motivated the fim as well 
Passage 7:
Marshall Leib
Marshall Leib (January 26, 1939 – March 15, 2002) was an American singer and one of the original members of The Teddy Bears   Leib and his high school friend, producer Phil Spector, formed the trio  Leib performed background harmony vocals on the Teddy Bears hit "To Know Him Is to Love Him", which became the number one song in the United States in 1958  It had since been covered by numerous artists such as Dolly Parton and Amy Winehouse 

Biography
Leib was involved with the movie "Ode to Billie Joe" which featured the hit "Ode To Billie Joe" by Bobbie Gentry  He also worked with Herb Alpert, Jerry Moss, The We Five, Chris Montez and Ralph Williams/The Marauders during their early years at A&M Records In 1966, Leib was hired by Randy Wood to produce the album "Songs of Protest and Anti-Protest" by "Chris Lucey" (who was in actuality Bobby Jameson) for Surrey Records In 1967, Leib produced a twelve song L P  for a group called The Brownstones that featured top session drummer Sandy Konikoff along with vocalist Aaron Brownstone, guitarist Dick Douglas and bassist Tom Hankins  He was attempting to create a "supergroup", but the vocalist was killed in a motorcycle accident and Konikoff went on to play with Taj Mahal and others  Collectors are looking for a copy of this Leib-produced missing LP, but it is believed that ABC Records destroyed all copies Leib later became involved with the L A  Street Scene, a yearly festival held in the streets of downtown L A  that was the precursor to the modern super festival Leib collected Ferrari automobiles and belonged to a Ferrari club   He was also a classic (antique) automobile aficionado   In the 1990s, Leib produced an album of female vocal Christmas songs   Leib married, divorced, and later suffered a fatal heart attack   He is survived by two biological sons (Jason Leib and Lucas Leib) and one adopted son, Jason Lawrence 
Passage 8:
Maya Deren
Maya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́ра Деренко́вська; May 12 [O S  April 29] 1917 – October 13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s  Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer 
The function of film, Deren believed, was to create an experience  She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual, black-and-white short films  Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims Meshes of the Afternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinema history  Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman 

Early life
Deren was born May 12 [O S



ground_truth: Bomgay

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

Question: Who was born later, Paul De Scherff or Lyudmyla Olyanovska?

The following are given passages.
Context 2: 
Marta's parents died of the plague around 1689, leaving five children  According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian  In his household she served as a lowly servant, likely either a scullery maid or washerwoman   No effort was made to teach her to read and write and she remained illiterate throughout her life 
Marta was considered a very beautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son  At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg  When Russian forces captured the town, Pastor Glück offered to work as a translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow 
There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress  She may have worked in the household of his superior, Sheremetev  It is not known whether she was his mistress, or household maid   She travelled back to the Russian court with Sheremetev's army Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great of Russia  Anecdotal sources suggest that she was purchased by him  Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife  It is clear that Menshikov and Marta formed a lifetime alliance 
It is possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely  In any case, in 1703, while visiting Menshikov at his home, Peter met Marta  In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter  In 1703, she converted to Orthodoxy and took the new name Catherine Alexeyevna (Yekaterina Alexeyevna)  She and Darya Menshikova accompanied Peter and Menshikov on their military excursions 

Marriage and family life
Though no record exists, Catherine and Peter are described as having married secretly between 23 October and 1 December 1707 in Saint Petersburg  They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709) 
Peter had moved the capital to St  Petersburg in 1703  While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking and caring for the children, and he tended a garden as though they were an ordinary couple  The relationship was the most successful of Peter's life and a great number of letters exist demonstrating the strong affection between Catherine and Peter  As a person she was very energetic, compassionate, charming, and always cheerful  She was able to calm Peter in his frequent rages and was often called in to do so 
Catherine went with Peter on his Pruth Campaign in 1711  There, she was said to have saved Peter and his Empire, as related by Voltaire in his book Peter the Great  Surrounded by overwhelming numbers of Turkish troops, Catherine suggested before surrendering, that her jewels and those of the other women be used in an effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat 
Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy  In any case Peter credited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St  Petersburg on 9 February 1712   She was Peter's second wife; he had previously married and divorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich  Upon their wedding, Catherine took on the style of her husband and became Tsarina  When Peter elevated the Russian Tsardom to Empire, Catherine became Empress  The Order of Saint Catherine was instituted by her husband on the occasion of their wedding 

Issue
Catherine and Peter had twelve children, all of whom died in childhood except Anna and Elizabeth:

Peter Petrovich (1704–1707), died in infancy
Paul Petrovich (October 1705–1707), died in infancy
Catherine Petrovna (7 February 1707–7 August 1708)
Grand Duchess Anna Petrovna (27 January 1708–15 May 1728)
Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)
Grand Duchess Mary Natalia Petrovna (20 March 1713–17 May 1715)
Grand Duchess Margaret Petrovna (19 September 1714–7 June 1715)
Grand Duke Peter Petrovich (9 November 1715–6 May 1719)

Grand Duke Paul Petrovich (13 January 1717–14 January 1717)
Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)
Grand Duke Peter Petrovich (7 October 1723–7 October 1723)
Grand Duke Paul Petrovich (1724–1724)

Siblings
Upon Peter's death, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titles of Count and Countess, and brought them to Russia 

Krystyna Skowrońska, renamed Christina (Russian: Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: Симон Гейнрих) (1672–1728) and their descendants became the Counts Gendrikov 
Anna Skowrońska, renamed Anna Samuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the Counts Efimovsky 
Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, a Russian woman, by whom he had descendants who became extinct in the male line with the death of Count Paul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration 
Fryderyk Skowroński, renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and was married twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without having children by either of them 

Reign as empress regnant
Catherine was crowned in 1724  The year before his death, Peter and Catherine had an estrangement over her support of Willem Mons, brother of Peter's former mistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona  He served as Catherine's secretary  Peter had fought his entire life to clear up corruption in Russia  Catherine had a great deal of influence over who could gain access to her husband  Willem Mons and his sister Matryona had begun selling their influence to those who wanted access to Catherine and, through her, to Peter  Apparently this had been overlooked by Catherine, who was fond of both  Peter found out and had Willem Mons executed and his sister Matryona exiled  He and Catherine did not speak for several months  Rumors flew that she and Mons had had an affair, but there is no evidence for this 
Peter died (28 January 1725 Old Style) without naming a successor  Catherine represented the interests of the "new men", commoners who had been brought to positions of great power by Peter based on competence  A change of government was likely to favor the entrenched aristocrats  For that reason during a meeting of a council to decide on a successor, a coup was arranged by Menshikov and others in which the guards regiments with whom Catherine was very popular proclaimed her the ruler of Russia  Supporting evidence was "produced" from Peter's secretary Makarov and the Bishop of Pskov, both "new men" with motivation to see Catherine take over  The real power, however, lay with Menshikov, Peter Tolstoy, and other members of the Supreme Privy Council 
Catherine viewed the deposed empress Eudoxia as a threat, so she secretly moved her to Shlisselburg Fortress near St  Petersburg to be put in a secret prison under strict custody as a state prisoner 

Death
Catherine I died two years after Peter I, on 17 May 1727 at age 43, in St  Petersburg, where she was buried at St  Peter and St  Paul Fortress  Tuberculosis, diagnosed as an abscess of the lungs, caused her early demise 
Before her death she recognized Peter II, the grandson of Peter I and Eudoxia, as her successor 

Assessment and legacy
Catherine was the first woman to rule Imperial Russia, opening the legal path for a century almost entirely dominated by women, including her daughter Elizabeth and granddaughter-in-law Catherine the Great, all of whom continued Peter the Great's policies in modernizing Russia   At the time of Peter's death the Russian Army, composed of 130,000 men and supplemented by another 100,000 Cossacks, was easily the largest in Europe   However, the expense of the military was proving ruinous to the Russian economy, consuming some 65% of the government's annual revenue   Since the nation was at peace, Catherine was determined to reduce military expenditure   For most of her reign, Catherine I was controlled by her advisers   However, on this single issue, the reduction of military expenses, Catherine was able to have her way   The resulting tax relief on the peasantry led to the reputation of Catherine I as a just and fair ruler The Supreme Privy Council concentrated power in the hands of one party, and thus was an executive innovation  In foreign affairs, Russia reluctantly joined the Austro-Spanish league to defend the interests of Catherine's son-in-law, the Duke of Holstein, against Great Britain 
Catherine gave her name to Catherinehof near St  Petersburg, and built the first bridges in the new capital  She was also the first royal owner of the Tsarskoye Selo estate, where the Catherine Palace still bears her name 
The city of Yekaterinburg is named after her, Yekaterina being the Russian form of her name 
She also gave her name to the Kadriorg Palace (German: Katharinental, meaning "Catherine's Valley"), its adjacent Kadriorg Park and the later Kadriorg neighbourhood of Tallinn, Estonia, which today houses the Presidential Palace of Estonia  The name of the neighbourhood is also used as a metonym for the institution of the President 
In general, Catherine's policies were reasonable and cautious   The story of her humble origins was considered by later generations of tsars to be a state secret 

See also
Bibliography of Russian history (1613–1917)
Rulers of Russia family tree

Notes
Passage 7:
Lyudmyla Olyanovska
Lyudmyla Olyanovska (Ukrainian: Людмила Оляновська; born 20 February 1993, in Kyiv) is a Ukrainian race walker 

Career
She won the bronze medal in the 20 kilometer racewalking event at the 2015 World Championships in Athletics in Beijing, China 
In 2014, she won the silver medal in the 20 kilometres racewalking event at the 2014 European Championships in Athletics 
In February 2017, she was disqualified for doping rules violation for four years since 30 November 2015 until 29 November 2019 

National records
She holds three national records in racewalking:
Passage 8:
Antoine Pescatore
Constantin-Joseph-Antoine Pescatore, known as Antoine Pescatore, was born on 16 December 1787 in Luxembourg City, and died on 31 October 1858 in Sandweiler  He was a businessman and politician 
From 1817 to 1820, he was mayor of the city of Luxembourg From 1842 to 1848 he was a member of the Assembly of Estates, and from 1854 to 1856 was a member of the Chamber of Deputies In 1845 he became a founding member of the Société pour la recherche et la conservation des monuments historiques dans le Grand-Duché de Luxembourg 
His daughter Marie Pescatore (1819-1894) married Paul de Scherff 
Passage 9:
Paul de Maleingreau
Paul Constant Eugène de Maleingreau (23 November 1887 - 9 January 1956) was a Belgian composer and organist 

Biography
Paul Constant Eugène Malengreau was born in  Trélon, Nord, France  He later changed his surname to "de Maleingreau"  From 1905 to 1912 he studied at the Brussels Conservatory where his principal teachers were Alfons Desmet, Paul Gilson and Edgar Tinel  He began teaching at the Conservatory in 1913 and was professor of organ (succeeding Desmet) from 1929 until 1953   His pupils included Pierre Froidebise, Charles Koenig, Robert Kohnen, Marcel Druart, Paul Sprimont and Herman Roelstraete 
In 1921 and 1922 he was the first to play Bach’s complete organ works in Brussels 
Gregorian plainsong forms the basis of most of Malengreau’s compositions, and indeed part of his output is intended for the liturgy  He also wrote programme music, his organ symphonies being inspired by paintings by Rogier van der Weyden and the van Eyck brothers  While the chromaticism and cyclic treatment of themes reveal the influence of Franck, certain harmonic progressions are typical of Impressionist music 
He was a member of the Libre Académie, and died in Brussels in 1956 

Selected works
Publication dates and publishers in parentheses where known 

Organ
Op  2  Élévation (1912, Hérelle)
Op  3 no  1 Post partum Virgo inviolata permansisti (Hérelle, Fortemps)
Op  3 no  2 Ego sum panis vivus (Hérelle, Fortemps)
Op  10 Opus sacrum: In nativitate Domini (1920, Chester)
Op  14 Suite (1919, Durand)
Op  18 nos 1 & 2 Offrande musicale (1920, Chester)
Op  18 no  3 Toccata (1920, Chester)
Op  19 Symphonie de Noël (1920, Chester)
Op  20 Symphonie de la Passion (1923, Senart)
Op  22 Opus sacrum II: In feriis Quadragesimae (1923, Senart)
Op  23 Triptyque pour la Noël (1923, Salabert)
Op  24 Symphonie de l’Agneau mystique (1926, Leduc)
Op  25 Préludes à l’introit pour orgue sans pédale (1924, Senart)
Op  26 no  4 Noël parisienne
Op  27 Élévations liturgiques (1935, Herelle-Philippo)
Op  30 Messe du jour de Noël (1938, Philippo)
Op  31 Messe de pâques (Hérelle-Philippo)
Op  35 Méditation pour le temps pascal: Quoniam ipsius est mare (1939, Hérelle)
Op  60 Préludes de carème (1952, Oxford)
Op  65 Suite mariale (1939, Oxford)
Op  71 Suite: Four paraphrases on hymns to the Virgin (1937, Oxford)
Op  103 Diptyque de la Toussaint (1952, Fischer)

Piano
Op  7 Prélude-Chorale et fugue (1920, Chester)
Op  8 No  1 Cygnes de neige sur des lacs de Lapis-Lazuli (F  Lauweryns)
Op  9 Suite pour piano (1920, Chester)
Op  12 Sonatine pour piano (1917, Lauweryns)
Op  17 Les angelus du printemps : suite pittoresque pour piano (1920, Chester)
Suite enfantine  (1934, Senart)

Chamber
Op  15 Sonate pour violoncelle et piano (1919, Durand)
Passage 10:
W  Augustus Barratt
W  Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician 

Early life and songs
Walter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley  In 1893 he won a scholarship for composition to the Royal College of Music 
In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements 
By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover 
He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree  He co-composed with Howard Talbot the successful Kitty Grey (1900) He continued to write songs and to receive recognition for them  The 1901 and 1902 BBC Promenade Concerts, "The Proms", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald 
His setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times  It also appeared four times, with different singers, in the 1913 and 1914 Proms 

America
In September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:

on-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;
musical director of The Little Michus (1907), also featuring songs by Barratt;
co-composer of Miss Pocahontas (1907), a musical comedy;
musical director of The Love Cure (1909–1910), a musical romance;
composer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst  Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;
musical director of The Quaker Girl (1911–1912);
co-composer and musical director of My Best Girl (1912);
musical director of The Sunshine Girl (1913);
musical director of The Girl who Smiles (1915), a musical comedy;
musical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);
composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;
contributor of a song to The Passing Show of 1918;
composer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;
contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;
musical director of What's in a Name? (1920), a musical revue

1921 in London
Though domiciled in the US, he made several visits back to England  During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B  Cochran, namely

League of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;
Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics

Back to Broadway
Back in the US he returned to Broadway, working as
composer and lyricist of Jack and Jill (1923), a musical comedy;
musical director of The Silver Swan (1929), a musical romance

Radio plays
In later years he wrote plays and operettas mostly for radio, such as:

Snapshots: a radioperetta (1929)
Sushannah and the Brush Wielders: a play in 1 act (1929)
The Magic Voice: a radio series (1933)
Men of Action: a series of radio sketches (1933)
Say, Uncle: a radio series (1933)
Sealed Orders: a radio drama (1934)
Sergeant Gabriel (with Hugh Abercrombie) (1945)

Personal
In 1897 in London he married Lizzie May Stoner  They had one son  In 1904 he emigrated to the US and lived in New York City  His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American  In 1924, he became a naturalized American citizen  He died on 12 April 1947 in New York City 

Note on his first name
The book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to "his son William Augustus Barratt" with details that make it clear that Walter Augustus Barratt is the same person and that a "William" Augustus Barratt is a mistake  For professional purposes up to about 1900 he appears to have written as "W  Augustus Barratt", and thereafter mostly as simply "Augustus Barratt" 
Context 3:  April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, to psychologist Solomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse In 1922, the family fled the Ukrainian SSR because of antisemitic pogroms perpetrated by the White Volunteer Army and moved to Syracuse, New York  Her father shortened the family name from Derenkovskaya to "Deren" shortly after they arrived in New York  He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse  Deren's mother was a musician and dancer who had studied these arts in Kyiv  In 1928, Deren's parents became naturalized citizens of the United States Deren was highly intelligent, starting fifth grade at only eight years old  She attended the League of Nations International School of Geneva, Switzerland for high school from 1930 to 1933  Her mother moved to Paris, France to be nearer to her while she studied  Deren learned to speak French while she was abroad Deren enrolled at Syracuse University at sixteen, where she began studying journalism and political science  Deren became a highly active socialist activist during the Trotskyist movement in her late teens  She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University  
At age eighteen in June 1935, she married Gregory Bardacke, a socialist activist whom she met through the Social Problems Club  After his graduation in 1935, she moved to New York City  She finished school at New York University with a Bachelor's degree in literature in June 1936, and returned to Syracuse that fall  She and Bardacke became active in various socialist causes in New York City; and it was during this time that they separated and eventually divorced three years later In 1938, Deren attended the New School for Social Research, and received a master's degree in English literature at Smith College  Her Master's thesis was titled The Influence of the French Symbolist School on Anglo-American Poetry (1939)  This included works of Pound, Eliot, and the Imagists  By the age of 21, Deren had earned two degrees in literature 

Early career
After graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European émigré art scene  She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers  During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook  She wrote poetry and short fiction, tried her hand at writing a commercial novel, and also translated a work by Victor Serge which was never published  She became known for her European-style handmade clothes, wild red curly hair and fierce convictions In 1940, Deren moved to Los Angeles to focus on her poetry and freelance photography  In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; she later became Dunham's assistant and publicist  Deren travelled with the troupe for a year, learning greater appreciation for dance, as well as interest and appreciation for Haitian culture  Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology  At the end of touring a new musical Cabin in the Sky, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood  It was there that Deren met Alexandr Hackenschmied (who later changed his name to Alexander Hammid), a celebrated Czech-born photographer and cameraman who would become Deren's second husband in 1942  Hackenschmied had fled from Czechoslovakia in 1938 after the Sudetenland crisis  
Deren and Hammid lived together in Laurel Canyon, where he helped her with her still photography which focused on local fruit pickers in Los Angeles  Of two still photography magazine assignments of 1943 to depict artists active in New York City,  including Ossip Zadkine, her photographs appeared in the Vogue magazine article  The other article intended for Mademoiselle magazine was not published, but three signed enlargements of photographs intended for this article, all depicting Deren's friend New York ceramist Carol Janeway, are preserved in the MoMA and the Philadelphia Museum of Art  All prints were from Janeway's estate 

Personal life
In 1943, she moved to a bungalow on Kings Road in Hollywood and adopted the name Maya, a pet name her second husband Hammid coined  Maya is the name of the mother of the historical Buddha as well as the dharmic concept of the illusory nature of reality  In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields 
In 1944, back in New York City, her social circle included Marcel Duchamp, André Breton, John Cage, and Anaïs Nin In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film 
In the December 1946 issue of Esquire magazine, a caption for her photograph teased that she "experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic " Her third husband, Teiji Itō, said: "Maya was always a Russian  In Haiti she was a Russian  She was always dressed up, talking, speaking many languages and being a Russian "

Film career
Deren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring As Sarah Keller states, “Maya Deren lays claim to the honor of being one of the most important pioneers of the American film avant-garde with a scant seventy-five or so minutes of finished films to her credit ”Deren began to screen and distribute her films in the United States, Canada, and Cuba, lecturing and writing on avant-garde film theory, and additionally on Vodou  In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showed Meshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945)  The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society of the 1950s In 1946, she was awarded a Guggenheim Fellowship for "Creative Work in the Field of Motion Pictures", and in 1947, won the Grand Prix International for avant-garde film at the Cannes Film Festival for Meshes of the Afternoon  She then created a scholarship for experimental filmmakers, the Creative Film Foundation Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night 
Deren's background and interest in dance appears in her work, most notably in the short film A Study in Choreography for Camera (1945)  This combination of dance and film has often been referred to as "choreocinema", a term first coined by American dance critic John Martin In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon  This is thought to be inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states  She also regularly explored themes of gender identity,  incorporating elements of introspection and mythology  Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time, though Mulvey later would give Deren this recognition, since their works were often in conversation with each other 

Major films
Meshes of the Afternoon (1943)
In 1943, Deren purchased a used 16mm Bolex camera with some of the inheritance money after her father's death from a heart attack  This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250  Meshes of the Afternoon is recognized as a seminal American avant-garde film  It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about woman as subject rather than as object  Originally a silent film with no dialogue, music for the film was composed, long after its initial screenings, by Deren's third husband Teiji Itō in 1952  The film can be described as an expressionistic "trance film", full of dramatic angles and innovative editing  It investigates the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations  A woman, played by Maya Deren, walks up to a house in Los Angeles, falls asleep and seems to have a dream  The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house  Movement from the wind, shadows and the music sustain the heartbeat of the dream  Recurring symbols include a cloaked figure, mirrors, a key, and a knife 
The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities  The camera initially does not show her face, which precludes identification with a particular woman, which creates a universalizing, totalizing effect- as it is easier to relate to an unknown, faceless woman  Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs  This kind of Freudian interpretation, which she disagreed with, led Deren to add sound, composed by Teiji Itō, to the film  
Another interpretation is that each film is an example of a "personal film"  Her first film, Meshes of the Afternoon, explores a woman's subjectivity and relation to the external world  Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U S A " In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum "the personal is political" is foregrounded  As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film  Following a dreamlike quest with allegorical complexity, Meshes of the Afternoon has an enigmatic structure and a loose affinity with both film noir and domestic melodrama  The film is famous for how it resonated with Deren's own life and anxieties  According to a review in The Moving Image, "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory  The first of these trajectories is Deren's interest in socialism during her youth and university years" 

Director's notes
There is no concrete information about the conception of Meshes of the Afternoon beyond that Deren offered the poetic ideas and Hammid was able to turn them into visuals, as she envisioned them  Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces  According to the earliest program note, she describes Meshes of the Afternoon as follows:

This film is concerned with the interior experiences of an individual  It does not record an event which could be witnessed by other persons  Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience 

At Land (1944)
Deren filmed At Land in Port Jefferson and Amagansett, New York in the summer of 1944  Taking on more of an environmental psychologist's perspective, Deren "externalizes the hidden dynamic of the external world   as if I had moved from a concern with the life of the fish, to a concern with the sea which accounts for the character of the fish and its life " Maya Deren washes up on the shore of the beach, and climbs up a piece of driftwood that leads to a room lit by chandeliers, and one long table filled with men and women smoking  She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff  She shrinks in the wide frame as she walks farther away from the camera, up and down sand dunes, then frantically collecting rocks back on the shore  Her expression seems confused when she sees two women playing chess in the sand  She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene  Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments  This is one of Deren's films in which the focus is on the character's exploration of her own subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films 

A Study in Choreography for Camera (1945)
In the spring of 1945 she made A Study in Choreography for Camera, which Deren said was "an effort to isolate and celebrate the principle of the power of movement " The compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film  Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space  "For Deren, no transition is needed between a place outside (such as a forest, or a park, or the beach) and an interior room  One action can be performed across different physical spaces, as in A Study in Choreography For Camera (1945), and in this way sews together layers of reality, thereby suggesting continuity between different levels of consciousness



ground_truth: Lyudmyla Olyanovska

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

Question: Which film has the director who is older than the other, Season Of Strangers or The Yellow Teddy Bears? 

The following are given passages.
Context 3: "At just under 3 minutes long, A Study in Choreography for Camera is a fragment depicting a carefully constructed exploration of a man who dances in a forest, and then seems to teleport to the inside of a house because of how continuous his movements are from one place to the next  The edit is broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted  The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space  It shows a progression from nature to the confines of society, and back to nature  The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world  Deren and Beatty met through Katherine Dunham, while Deren was her assistant and Beatty was a dancer in her company  It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence  The film is also subtitled 'Pas de Deux', a dance term referring to a dance between two people, or in this case, a collaboration between Deren and Beatty A Study in Choreography for Camera was one of the first experimental dance films to be featured in the New York Times as well as Dance Magazine 

Ritual in Transfigured Time (1946)
By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole  Ritual in Transfigured Time began in August and was completed in 1946  It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change  The main roles were played by Deren herself and the dancers Rita Christiani and Frank Westbrook 

Meditation on Violence (1948)
Deren's Meditation on Violence was made in 1948  Chao-Li Chi's performance obscures the distinction between violence and beauty  It was an attempt to "abstract the principle of ongoing metamorphosis", found in Ritual in Transfigured Time, though Deren felt it was not as successful in the clarity of that idea, brought down by its philosophical weight  Halfway through the film, the sequence is rewound, producing a film loop 

Criticism of Hollywood
Throughout the 1940s and 1950s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema  She stated, "I make my pictures for what Hollywood spends on lipstick," criticizing the amount of money spent on production  She also observed that Hollywood "has been a major obstacle to the definition and development of motion pictures as a creative fine-art form " She set herself in opposition to the Hollywood film industry's standards and practices 
Deren talks about the freedoms of independent cinema:

Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words   to the relentless activity and explanations of a plot   nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes   Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc  as a poem might celebrate these  And use your freedom to experiment with visual ideas; your mistakes will not get you fired 

Haiti and Voudoun
When Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist  She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film  In September, she divorced Hammid and left for a nine-month stay in Haiti  The Guggenheim Fellowship grant in 1946 enabled Deren to finance her travel and film footage for what would posthumously become  Meditation on Violence  She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou 
A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited  While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti  Exposure to these documents led her to write her 1942 essay titled, "Religious Possession in Dancing " Afterwards, Deren wrote several articles on religious possession in dancing before her first trip to Haiti  Deren filmed, recorded and photographed many hours of Vodou ritual, but she also participated in the ceremonies  She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject  She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality  In her book An Anagram of Ideas on Art, Form, and Film she wrote:

The ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole  The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality  He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning 
Deren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera  The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji Itō (1935–1982), and his wife Cherel Winett Itō (1947–1999)  All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University  The film footage is housed at Anthology Film Archives in New York City 
An LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti  The cover art for the album was by Teiji Itō Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen, and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because "Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities "In her book of the same name Deren uses the spelling Voudoun, explaining: "Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation  Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words)  Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation " In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary draws attention to the similar French word, Vaudoux 

Death
Deren died in 1961, at the age of 44, from a brain hemorrhage brought on by extreme malnutrition  Her condition may have also been weakened by her long-term dependence on amphetamines and sleeping pills prescribed by Max Jacobson, a doctor and member of the arts scene, notorious for his liberal prescription of drugs, who later became famous as one of President John F  Kennedy's physicians 
Her ashes were scattered in Japan at Mount Fuji 

Legacy
Deren was a muse and inspiration to such up-and-coming avant-garde filmmakers as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit  Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich  In his review for renowned experimental filmmaker David Lynch's Inland Empire, writer Jim Emerson compares the work to Meshes of the Afternoon, apparently a favorite of Lynch's Deren was a key figure in the creation of a New American Cinema, highlighting personal, experimental, underground film  In 1986, the American Film Institute created the Maya Deren Award to honor independent filmmakers 
The Legend of Maya Deren, Vol  1 Part 2 consists of hundreds of documents, interviews, oral histories, letters, and autobiographical memoirs Works about Deren and her works have been produced in various media:

Deren appears as a character in the long narrative poem The Changing Light at Sandover (1976-1980) by her friend James Merrill 
In 1987, Jo Ann Kaplan directed a biographical documentary about Deren, titled Invocation: Maya Deren (65 min)
In 1994, the UK-based Horse and Bamboo Theatre created and toured Dance of White Darkness throughout Europe—the story of Deren's visits to Haiti 
In 2002, Martina Kudlacek directed a feature-length documentary about Deren, titled In the Mirror of Maya Deren (Im Spiegel der Maya Deren), which featured music by John Zorn Deren's films have also been shown with newly written alternative soundtracks:

In 2004, the British rock group Subterraneans produced new soundtracks for six of Deren's short films as part of a commission from Queen's University Belfast's annual film festival  At Land won the festival prize for sound design 
In 2008, the Portuguese rock group Mão Morta produced new soundtracks for four of Deren's short films as part of a commission from Curtas Vila do Conde's annual film festival 

Awards and honors
Guggenheim Fellowship 1946
Grand Prix Internationale for Amateur Film
Creative Work in Motion Pictures (1947)
Cannes Film Festival (1947)

Filmography
Discography
Vinyl LPs
Written works
Deren was also an important film theorist  

Her most widely read essay on film theory is probably An Anagram of Ideas on Art, Form and Film, Deren's seminal treatise that laid the groundwork for many of her ideas on film as an art form (Yonkers, NY: Alicat Book Shop Press, 1946) 
Her collected essays were published in 2005 and arranged in three sections:Film Poetics, including: Amateur versus Professional, Cinema as an Art Form, An Anagram of Ideas on Art, Form and Film, Cinematography: The Creative Use of Reality
Film Production, including: Creating Movies with a New Dimension: Time, Creative Cutting, Planning by Eye, Adventures in Creative Film-Making
Film in Medias Res, including: A Letter, Magic is New, New Directions in Film Art, Choreography for the Camera, Ritual in Transfigured Time, Meditation on Violence, The Very Eye of Night Divine Horsemen: Living Gods of Haiti was published in 1953 by Vanguard Press (New York City) and Thames & Hudson (London), republished under the title of The Voodoo Gods by Paladin in 1975, and again under its original title by McPherson & Company in 1998 

See also
List of Guggenheim Fellowships awarded in 1946
Women's cinema
Passage 9:
The Yellow Teddy Bears
The Yellow Teddy Bears (US: Gutter Girls and The Thrill Seekers) is a 1963 British drama film directed by Robert Hartford-Davis and starring Jacqueline Ellis, Iain Gregory, Raymond Huntley and Georgina Patterson 

Premise
The pupils at a girls' school deal with adult issues such as teen pregnancy 

Cast
Jacqueline Ellis - Anne Mason
Iain Gregory - Kinky
Georgina Patterson - Pat
John Bonney - Paul
Annette Whiteley - Linda
Douglas Sheldon - Mike Griffin
Victor Brooks - George Donaghue
Anne Kettle - Sally
Lesley Dudley as Joan
Jill Adams - June Wilson
John Glyn-Jones - Benny Wintle
Raymond Huntley - Harry Halburton
Harriette Johns - Lady Gregg
Noel Dyson - Muriel Donaghue
Richard Bebb - Frank Lang
Ann Castle - Eileen Lang
Micheline Patton - Mrs  Broome
Irene Richardson - extra
Passage 10:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director  He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977)  His television work includes four episodes of The Twilight Zone (1961–1964) 

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century  The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin 
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire 
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt 
While Silverstein was not a prolific director, his films were often decorated  Cat Ballou, for instance, earned one Oscar and was nominated for four more  His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America 

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou 
He was also nominated for the Golden Berlin Bear In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou) 
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris In 1985, he won the Robert B  Aldrich Achievement Award from the Directors Guild of America 
In 1990, he was awarded the DGA Honorary Life Member Award 

Personal life
Silverstein has been married three times, each ending in divorce  His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968  His second marriage was to Alana King  During his first marriage, he was the step-father of David Cassidy 
He currently lives in North Hollywood, Los Angeles  Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects 

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr  Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)



ground_truth: Season Of Strangers