{"input": "Which film has the director who was born later, Dead Man'S Letters or The Dance Of Death (1967 Film)?", "context": "Passage 1:\nKonstantin Lopushansky\nKonstantin Sergeyevich Lopushansky (Russian: \u041a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0438\u043d \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u0438\u0447 \u041b\u043e\u043f\u0443\u0448\u0430\u043d\u0441\u043a\u0438\u0439; born June 12, 1947) is a Soviet and Russian film director, film theorist and author. He is best known for directing the apocalyptic and post-apocalyptic films Dead Man's Letters (1986), A Visitor to a Museum (1989), Russian Symphony (1994), and The Ugly Swans (2006).\nIn 1997, Lopushansky was awarded the Honored Artist of the Russian Federation honorary title. In 2007, he was awarded the People's Artist of Russia honorary title, the highest Russian civilian honor for performing arts.\n\nBiography\nEarly life\nKonstantin Lopushansky was born on June 12, 1947, in Dnepropetrovsk, Ukrainian SSR. His mother was Sofia Petrovna Lopushanskaya, who worked as a linguistic professor at Volgograd State University. His father was Sergei Timofeyevich Lopushansky, a front-line soldier who died in 1953 from wounds he sustained in war.\n\nEducation and early career\nIn 1970, Konstantin Lopushansky graduated from Kazan Conservatory as a violinist, and in 1973 he completed a postgraduate course at Leningrad Conservatory with a Ph.D. thesis in art criticism. Afterwards, Lopushansky taught at the Kazan and Leningrad conservatories for several years. Lopushansky took higher courses for scriptwriters and film directors from the director's department at the workshop of Emil Loteanu.Upon graduating from the directorial courses in 1979, Lopushansky assisted Andrei Tarkovsky in directing the legendary film Stalker, based on the novel Roadside Picnic by Boris Strugatsky.Lopushansky's thesis film Solo made in 1980 was about a musician playing his last concert during the Siege of Leningrad.Since 1980 Lopushansky has worked as a production director at the Lenfilm cinema studio.\n\nDead Man's Letters and breakthrough\nIn 1986, Konstantin Lopushansky made his feature film directorial debut with the post-apocalyptic film Dead Man's Letters, which was co-written by Boris Strugatsky. It was screened at the International Critics' Week section of the Cannes Film Festival in 1987 and received the FIPRESCI prize at the 35th International Filmfestival Mannheim-Heidelberg.Lopushanksy's 1989 film A Visitor to a Museum was entered into the 16th Moscow International Film Festival where it won the Silver St. George and the Prix of Ecumenical Jury.Lopushansky's 1994 film Russian Symphony was screened in the Forum section of the 45th Berlin International Film Festival where it received the Prize of the Ecumenical Jury.Lopushansky made the 2006 film The Ugly Swans, based on the novel by Arkady and Boris Strugatsky. The science-fiction film was about a writer who visits a boarding school for gifted children where the teachers are mutants.Lopushansky's 2013 drama film The Role told the story of an actor who decides to impersonate a deceased commander of the Red Army. It was shown in competition at the 35th Moscow International Film Festival. It received the Nika Award for Best Screenplay.Konstantin Lopushansky's drama film Through the Black Glass was released in 2019.\n\nFilmography\nPassage 2:\nVyacheslav Rybakov\nVyacheslav Rybakov (Russian: \u0412\u044f\u0447\u0435\u0441\u043b\u0430\u0432 \u041c\u0438\u0445\u0430\u0439\u043b\u043e\u0432\u0438\u0447 \u0420\u044b\u0431\u0430\u043a\u043e\u0432; born January 1954 in Leningrad), is a Russian science fiction author and an orientalist, interested in the medieval bureaucracy of China. He is a frequent collaborator with science fiction director Konstantin Lopushansky. Screenwriting for his films The Ugly Swans, based on the 1972 novel by Arkady and Boris Strugatsky. As well as Dead Man's Letters in 1986, which he would later receive a Governmental Award of the RSFSR for the screenplay in 1987 after its premiere at the Toronto Film Festival.\n\nBiography\nRybakov graduated from the Oriental Studies Department of the Leningrad State University in 1976, mostly focusing on writings about the medieval bureaucracy of China and started. Soon after he studied at the Leningrad branch of the USSR Academy of Sciences Oriental Institute where he was able to publish over 40 thesis papers. While studying at Leningrad, the KGB had gained access to rough drafts of his anti-Soviet novel Trust due to Rybakov sending drafts to friends and classmates. This resulted in the copies being seized by the KGB and a warning. Although the KGB has checked in with Rybakov several years later, Rybakov insisted on writing the final draft of the novel using previous remaining drafts and memory. The novel was later published a decade later. In 1983, Rybakov had met Konstantin Lopushansky to discuss writing the screenplay for his film Dead Man's Letters. The process of developing the film allowed both artists to freely express their visions for the production of the film and further productions further on, this was a stark contrast to Russia's strict censorship rules at the time.\n\nScience fiction\nAmong Rybakov's works were first published and include the prize-winning novels: Fireplace on a Tower (Ochag na bashne, 1990), and Gravilyot Tsesarevitch (1993) which depicts an alternative world featuring a Russian Empire in which communism is merely a religion, and our world is just an insane scientific experiment.\nHis Death of Ivan Ilyich (1997) reveals the inner world of a contemporary person in a moment before his death.\nThe novel Na budushchiy god v Moskve (In the adjacent year in Moscow, 2003) explores a Russia torn apart into small, poor countries, ruled by those idealists of the late Soviet Union who sincerely hated totalitarianism but didn't notice any good features of the nation, ruined the whole system of government and survived with help of the West. In the story, space is ruled by Darths and Vaders, and a Russian rocket scientist Ivan Obiwankin attempts to resurrect his people's feelings of nationalism by launching his own space ship.\nRybakov preaches equality of cultures and states that cultures are often based on restrictions, and that simply removing the restrictions as anti-democratic may ruin the culture. Rybakov's novel also examines the Russian mentality, criticizing its tendency to understand and agree with the positions of others as an inappropriate way to deal with the encroaching Western civilization. He argues that all living civilizations are unique, and that in the future it may become essential to save some other civilization from stagnation, because a world ruled by only one civilization has no future.\nHe shows through an example of the ruined family of the main character Alexey that, \n\n\"the surest way for you to cease being esteemed and appreciated... even just loved... is to implicitly cede something essential and principal.\"\nVyacheslav Rybakov and Igor Alimov were also the authors  of There are no bad people. The work was originally attributed to Holm van Zaichik but was later proved to be a hoax. The series tells the story of the world of the Orduss, a fictional country with a humane and rich culture, that unifies lands of China, Russia and the Near East.\n\nEnglish translations\nArtist (Story)\nThe Trial Sphere (Story)\nPassage 3:\nThe Dance of Death (1948 film)\nThe Dance of Death (French: La danse de mort, Italian: La prigioniera dell'isola) is a 1948 French-Italian drama film directed by Marcel Cravenne and starring Erich von Stroheim, Denise Vernac and Palau. It is based on August Strindberg's The Dance of Death.\nThe film's sets were designed by Georges Wakh\u00e9vitch.\n\nPlot\nAn egocentric artillery Captain and his venomous wife engage in savage unremitting battles in their isolated island fortress off the coast of Sweden at the turn of the century. Alice, a former actress who sacrificed her career for secluded military life with Edgar, reveals on the occasion of their 25th wedding anniversary, the veritable hell their marriage has been. Edgar, an aging schizophrenic who refuses to acknowledge his severe illness, struggles to sustain his ferocity and arrogance with an animal disregard for other people. Sensing that Alice, together with her cousin and would-be lover, Kurt, may ally against him, retaliates with vicious force. Alice lures Kurt into the illusion of sharing a passionate assignation and recruits him in a plot to destroy Edgar.\n\nCast\nErich von Stroheim as Edgar\nDenise Vernac as Th\u00e9a\nPalau as Le sergent / Il sergente\nMassimo Serato as St\u00e9phane / Stefano\nPaul Oettly as Le g\u00e9n\u00e9ral / Il generale\nMarie Olivier\nHenri Pons as Le timonier / Il timoniere\nRoberto Villa\nGaleazzo Benti\nMargo Lion as Mathilde - la servante\nJean Servais as Kurt\nMar\u00eda Denis as Rita\nRoberto Bertea\nPassage 4:\nDead Man's Letters\nDead Man's Letters (Russian: \u041f\u0438\u0441\u044c\u043c\u0430 \u043c\u0451\u0440\u0442\u0432\u043e\u0433\u043e \u0447\u0435\u043b\u043e\u0432\u0435\u043a\u0430, romanized: Pis'ma myortvogo cheloveka), also known as Letters from a Dead Man, is a 1986 Soviet post-apocalyptic drama film directed and written by Konstantin Lopushansky. He wrote it along with Vyacheslav Rybakov and Boris Strugatsky. It marks his directorial debut.\nThe film was screened at the International Critics' Week section of the Cannes Film Festival in 1987\nand received the FIPRESCI prize at the 35th International Filmfestival Mannheim-Heidelberg.In the aftermath of nuclear apocalypse, a group of people are forced to live underground in bunkers. They cannot go outside their dwellings without wearing protective clothing and gas masks. They try to find hope in the disturbing new world. Among these people is a history teacher who tries to contact via letters his missing son.\n\nPlot\nThe film is set in a town after a nuclear war; the town is destroyed and polluted with radioactive elements. The main character, Professor Larsen, played by Rolan Bykov, is a Nobel Prize in Physics laureate, who lives in the basement of a museum along with his sick wife and several other people who used to work at the museum. He often writes letters to his son Eric, though he has no way of contacting him. Larsen believes the war has ended and that more surviving humans exist outside the central bunker, but nobody else believes his theories.\nLarsen visits an orphanage where the current caretaker of the surviving children explains that she's thinking of evacuating to the central bunker, though may have to leave the children behind as they likely won't be allowed in since they're sick, to Larsen's disapproval. Larsen is informed that he also might be rejected from entering the central bunker due to his old age. With his wife's health declining, Larsen sneaks past several soldiers during curfew hours and attempts to find medicine for his wife, escaping from a military raid in the process. When he returns to the museum's basement, however, he finds that his wife died. The other museum employees bury her body.\nIn one of his letters to Eric, Larsen tells a darkly humorous story on how someone failed to prevent the nuclear war. According to him, an operator from an electronics center had a chance to cancel the first missile launch (which happened due to a computer error), but was unable to reach the computer in time to abort the launch as he was slowed down by a cup of coffee in his hands. The operator then hung himself in return.\nLarsen makes a trip to the central bunker in an effort to find Eric. After sneaking into a medical facility, he enters the children's department, only to find all the children sick, injured, and screaming in agony, much to Larsen's horror.\nAfter returning to the museum's basement, he finds that a museum employee is about to take his life as he thinks the history of mankind has ended and that mankind was doomed from the very beginning. He then leaves the group, lies down in a grave, and shoots himself dead, to the horror of his son. Later, while salvaging books from a flooded library, Larsen talks with a man who disagrees with his theory on how there's hope for mankind, referencing how Jesus said mankind was doomed.\nLarsen visits the orphanage where he learns the children were rejected from entering the central bunker. The caretaker leaves the children for Larsen to look after, as she is evacuating to the central bunker herself. The remaining museum employees also evacuate to the central bunker, though Larsen stays behind to look after the children (it's assumed they're the only people left in the town). On Christmas Day, Larsen creates a makeshift Christmas tree out of sticks and candles while the children design Christmas ornaments to decorate it with. In his final letter to Eric, Larsen writes that he finally found purpose in life and that he hopes his son doesn't leave him alone in the world.\nThe final scene is narrated by one of the children Larsen looked after, who explains that Larsen died some time later. On his deathbed, he told the children to leave the museum and find somewhere else to go while they have the strength, still believing that life exists elsewhere. The film ends with the children wandering through the apocalyptic landscape together, their fates unknown.\n\nCast\nRolan Bykov - Professor Larsen\nVatslav Dvorzhetsky - Pastor\nVera Mayorova - Anna\nVadim Lobanov\nViktor Mikhaylov\nSvetlana Smirnova - Theresa\nVladimir Bessekernyh\nVyacheslav Vasiliev - doctor dosimetrist\nNatalya Vlasova\n\nThemes\nDue to the heated climate between North America and Russia during the events of The Cold War, many critics believe that Dead Man's Letters is a response to American films like WarGames and The Day After discussing their perspective on the Nuclear Arms Race. TBS purchased the rights to show Dead Man's Letters, deciding to air it alongside Amerika, a twelve-hour ABC miniseries about what the United States would be like as a Soviet satellite state. The heavy reliance on themes like warfare, uncertainty, and grief as well as Americans involved in the war are interwoven through the production design from Yelena Amshinskaya and Viktor Ivanov. The use of defense equipment in the film, including gas masks and shelter equipment,  makes its portrayal of a post-nuclear setting an eerie mirror image of the Soviet program.\n\nProduction\nAround the time the film started production, it was common knowledge that Russia had a strict censorship policy following the death of Stalin, resulting in a three year waiting period for Lopushansky and the crew consisting of various re-rewrites, possibly most likely due to Vyacheslav Rybakov's involvement with anti-Soviet literature and run-ins with the KGB. However, censorship started to loosen around the mid to late 80s towards discussing sensitive topics regarding current or previous events in Russia's history, so producers and film studios became more lenient with what was shown in cinemas. Gorbachev established a policy of allowing more open discussion of previously sensitive political issues making it possible for well connected civil defense skeptics to popularize their views. The patronage of Anatoly Gromyko-historian, member of the USSR Academy of Sciences, and son of Soviet foreign minister Andrei Gromyko enabled the production by Lenfilm in 1986 of the first portrayal of the aftermath of nuclear war in Soviet cinema.Before production started on this film and his short Solo, Lopunshansky served as an apprentice for Tarkovsky and would later work as a production assistant for his 1979 film Stalker. Tarkovsky's teachings played a huge influence on Lopushansky's directing style as well as many aspects of the film from the set design, cinematography, and signature slow yet otherworldly pacing. In a 2017 interview with Indie Cinema, Lopunshansky states  \"I noticed that his lectures, in fact, are not about certain professional skills, but are more philosophical, about understanding the essence of art, its essence.\" This can be seen through the film's brutal realism and constant feelings of hopelessness and confusion, a sentiment shared with by various members of the crew. The use of monochrome coloring on the film stock gives a resemblance to the greenish tint seen in various scenes in Stalker, in order to give the film a more foreboding atmosphere.\n\nReception\nIn 1989, The New York Times  published a somewhat positive review of the film. Praising the film for its brutal realism and stunning set design, but found that the film was somewhat dismissed by its meandering in certain scenes stating \"despite its technical virtues, seems just a bit too contrived to truly convince, much less to deeply move. Yet, in stripping the ideological gloss from the vision of ultimate calamity, Mr. Lopushinsky does succeed in creating a cultural artifact that makes the specter of the most dreadful possible event common to both sides of the superpower divide\".\n\nSee also\nVyacheslav Rybakov\nList of nuclear holocaust fiction\nNuclear weapons in popular culture\nPassage 5:\nMichael Verhoeven\nMichael Verhoeven (born 13 July 1938) is a German film director.\n\nLife and work\nVerhoeven is the son of the German film director Paul Verhoeven (not to be confused with the Dutch film director Paul Verhoeven). He married actress Senta Berger in 1966; their sons are actor-director Simon Verhoeven (born 1972) and actor Luca Verhoeven (born 1979). Together, the couple have a production company to make films. The 1970 anti-Vietnam War film, o.k. was entered into the 20th Berlin International Film Festival, but led to a scandal that forced the collapse of the festival without the awarding of any prizes.In 1982, Verhoeven released Die wei\u00dfe Rose (The White Rose), which, with the Best Foreign film nomination of Das schreckliche M\u00e4dchen (The Nasty Girl) in 1990, cemented his reputation as an important political contributor to German film. Along with his films My Mother's Courage and documentary Der unbekannte Soldat (The Unknown Soldier), they have been hailed as an unstinting examination of Germany's Nazi period. In 1992, he was a member of the jury at the 42nd Berlin International Film Festival.\n\nAwards\n1990 Silver Bear for Best Director, 40th Berlin International Film Festival for The Nasty Girl\n1995 Bavarian Film Awards, Best Production\n2006 Bavarian Film Awards, Honorary Award\n\nSelected filmography\nDirector\nFilm\n\nThe Dance of Death (1967) \u2013 based on The Dance of Death by August Strindberg\nUp the Establishment (1969) \u2013 screenplay by Franz Geiger\nStudent of the Bedroom (1970) \u2013 screenplay by Volker Vogeler, based on a novel by Finn S\u00f8eborg\no.k. (1970)\nHe Who Loves in a Glass House (1971)\nMitGift (1976)\nScrounged Meals (1977) \u2013 screenplay by Elke Heidenreich and Bernd Schroeder\nSunday Children (1980) \u2013 based on a play by Gerlind Reinshagen\nDie wei\u00dfe Rose (1982)\nKilling Cars (1986)\nThe Nasty Girl (1990)\nMy Mother's Courage (1995) \u2013 based on a story by George Tabori\nLet's Go! (2014) \u2013 based on an autobiographical novel by Laura WacoTelevision\n\nDer Kommissar: Dr. Meinhardts trauriges Ende (1970, TV series episode)\nTatort: Kressin und der Mann mit dem gelben Koffer (1972, TV series episode)\nEin unheimlich starker Abgang (1973) \u2013 based on a play by Harald Sommer\nKrempoli \u2013 Ein Platz f\u00fcr wilde Kinder (1975, TV series)\nDie Herausforderung (1975) \u2013 screenplay by Elke Heidenreich and Bernd Schroeder\nBier und Spiele (1977, TV series) \u2013 screenplay by Bernd Schroeder\nDas M\u00e4nnerquartett (1978) \u2013 based on a novel by Leonhard Frank\n1982: Gutenbach (1978) \u2013 screenplay by Michael Mansfeld\nVerf\u00fchrungen (1979) \u2013 screenplay by Elke Heidenreich\nFreundinnen: Edith und Marlene (1979, TV series episode) \u2013 screenplay by Elke Heidenreich and Irene Rodrian\nAm S\u00fcdhang (1980) \u2013 screenplay by Manfred Bieler, based on a novella by Eduard von Keyserling\nDie Ursache (1980) \u2013 based on a novella and a play by Leonhard Frank\nDie Mutprobe (1982)\nDas Tor zum Gl\u00fcck (1984)\nStinkwut (1986) \u2013 based on a play by Fitzgerald Kusz\nGundas Vater (1987)\nGegen die Regel (1987) \u2013 screenplay by Daniel Christoff\nIgnaz Semmelweis \u2013 Arzt der Frauen (1988) \u2013 biographical film about Ignaz Semmelweis\nDie schnelle Gerdi (1989, TV series)\nSchlaraffenland (1990)\nLilli Lottofee (1992, TV series)\nEine unheilige Liebe (1993)\nZimmer mit Fr\u00fchst\u00fcck (2000) \u2013 screenplay by Conny Lens\nEnth\u00fcllung einer Ehe (2000) \u2013 screenplay with Nicole Walter-Lingen\nDie schnelle Gerdi, second season (2004, TV series)\nTatort: Die Spieler (2005, TV series episode)\nBloch: Vergeben, nicht vergessen (2008, TV series episode)\nBloch: Hei\u00dfkalte Seele (2012, TV series episode)\nBloch: Die Lavendelk\u00f6nigin (2013, TV series episode)\nGl\u00fcckskind (2014) \u2013 based on a novel by Steven UhlyDocumentary and short films\n\nTische (1970)\nBonbons (1971)\nCoiffeur (1973)\nLiebe Melanie (1983) \u2013 film about Melanie Horeschowsky\nDas M\u00e4dchen und die Stadt oder: Wie es wirklich war (1990)\nThe Legend of Mrs. Goldman and the Almighty God (1996) \u2013 with George Tabori\nGeorge Tabori \u2013 Theater ist Leben (1998) \u2013 film about George Tabori\nDer Fall Liebl (2001)\nDie kleine Schwester \u2013 Die wei\u00dfe Rose: Ein Verm\u00e4chtnis (2002)\nDer unbekannte Soldat (The Unknown Soldier, 2006)\nMenschliches Versagen (Human Failure, 2008)\nThe Second Execution of Romell Broom (2012)\n\nProducer\nDie Spider Murphy Gang (dir. Georg Kostya, 1983)\nWelcome to Germany (dir. Simon Verhoeven, 2016)\n\nActor\nThe Flying Classroom (1954), as Ferdinand\nMarianne of My Youth (1955), as Alexis\nThe Crammer (1958), as Peter Wieland\nThat's No Way to Land a Man (1959), as Horst Burkhardt\nThe Juvenile Judge (1960), as Fred Kaiser\nMit 17 weint man nicht (1960), as Richard Denger\nThe House in Montevideo (1963), as Herbert\nTales of a Young Scamp (1964), as Karl Schultheiss\nOnkel Filser \u2013 Allerneueste Lausbubengeschichten (1966), as Karl Schultheiss\nDer Kommissar: Dr. Meinhardts trauriges Ende (1970, TV series episode), as Harro Vogt\nDer Kommissar: Kellner Windeck (1971, TV series episode), as Johannes Windeck\nPassage 6:\nW. Augustus Barratt\nW. Augustus Barratt (3 June 1873 \u2013 12 April 1947) was a Scottish-born, later American, songwriter and musician.\n\nEarly life and songs\nWalter 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.\nIn his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.\nBy 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.\nHe 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.\nHis 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.\n\nAmerica\nIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:\n\non-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;\nmusical director of The Little Michus (1907), also featuring songs by Barratt;\nco-composer of Miss Pocahontas (1907), a musical comedy;\nmusical director of The Love Cure (1909\u20131910), a musical romance;\ncomposer 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;\nmusical director of The Quaker Girl (1911\u20131912);\nco-composer and musical director of My Best Girl (1912);\nmusical director of The Sunshine Girl (1913);\nmusical director of The Girl who Smiles (1915), a musical comedy;\nmusical director and contributor to music and lyrics of Her Soldier Boy (1916\u20131917);\ncomposer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;\ncontributor of a song to The Passing Show of 1918;\ncomposer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;\ncontributor of lyrics to The Melting of Molly (1918\u20131919), a musical comedy;\nmusical director of What's in a Name? (1920), a musical revue\n\n1921 in London\nThough 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\n\nLeague of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;\nFun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics\n\nBack to Broadway\nBack in the US he returned to Broadway, working as\ncomposer and lyricist of Jack and Jill (1923), a musical comedy;\nmusical director of The Silver Swan (1929), a musical romance\n\nRadio plays\nIn later years he wrote plays and operettas mostly for radio, such as:\n\nSnapshots: a radioperetta (1929)\nSushannah and the Brush Wielders: a play in 1 act (1929)\nThe Magic Voice: a radio series (1933)\nMen of Action: a series of radio sketches (1933)\nSay, Uncle: a radio series (1933)\nSealed Orders: a radio drama (1934)\nSergeant Gabriel (with Hugh Abercrombie) (1945)\n\nPersonal\nIn 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.\n\nNote on his first name\nThe 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\".\nPassage 7:\nDance of Death (film)\nDance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death.\nDance of Death or The Dance of Death may also refer to:\n\nBooks\nDance of Death, a 1938 novel by Helen McCloy\nDance of Death (Stine novel), a 1997 novel by R. L. Stine\nDance of Death (novel), a 2005 novel by Douglas Preston and Lincoln Child\n\nTheatre and film\nThe Dance of Death (Strindberg play), a 1900 play by August Strindberg\nThe Dance of Death, a 1908 play by Frank Wedekind\nThe Dance of Death (Auden play), a 1933 play by W. H. Auden\n\nFilm\nThe Death Dance, a 1918 drama starring Alice Brady\nThe Dance of Death (1912 film), a German silent film\nThe Dance of Death (1919 film), an Austrian silent film\nThe Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph Dawson\nThe Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich von Stroheim\nThe Dance of Death (1967 film), a West German drama film\nDance of Death or House of Evil, 1968 Mexican horror film starring Boris Karloff\nDance of Death (1969 film), a film based on Strindberg's play, starring Laurence Olivier\nDance of Death (1979 film), a Hong Kong film featuring Paul Chun\n\nMusic\nDance of Death (album), a 2003 album by Iron Maiden, or the title song\nThe Dance of Death & Other Plantation Favorites, a 1964 album by John Fahey\nThe Dance of Death (Scaramanga Six album)\n\"Death Dance\", a 2016 song by Sevendust\n\nSee also\nDance of the Dead (disambiguation)\nDanse Macabre (disambiguation)\nBon Odori, a Japanese traditional dance welcoming the spirits of the dead\nLa danse des morts, an oratorio by Arthur Honegger\nTotentanz (disambiguation)\nPassage 8:\nThe Dance of Death (1967 film)\nThe Dance of Death (German: Paarungen) is a 1967 West German drama film directed by Michael Verhoeven and starring Lilli Palmer, Paul Verhoeven and Karl Michael Vogler. It is an adaptation of August Strindberg's play of the same title. It was shot in Eastmancolor.\n\nPlot\nAn egocentric artillery Captain and his venomous wife engage in savage unremitting battles in their isolated island fortress off the coast of Sweden at the turn of the century. Alice, a former actress who sacrificed her career for secluded military life with Edgar, reveals on the occasion of their 25th wedding anniversary, the veritable hell their marriage has been. Edgar, an aging schizophrenic who refuses to acknowledge his severe illness, struggles to sustain his ferocity and arrogance with an animal disregard for other people. Sensing that Alice, together with her cousin and would-be lover, Kurt, may ally against him, retaliates with vicious force. Alice lures Kurt into the illusion of sharing a passionate assignation and recruits him in a plot to destroy Edgar.\n\nCast\nLilli Palmer as Alice\nPaul Verhoeven as Edgar\nKarl Michael Vogler as Kurt\nIlona Gr\u00fcbel as Judith\nMichael von Harbach as Allan\nMelanie Horeschowsky as Maja\nDietrich Kerky as Prisoner\nDieter Klein as Ekmark\nInken Sommer as Jenny\nPassage 9:\nElsa Barker\nElsa Barker (1869\u20131954) was an American novelist, short-story writer and poet. She became best known for Letters from a Living Dead Man (1914), War Letters from the Living Dead Man (1915), and Last Letters From the Living Dead Man (1919), books containing what she said were messages from a dead man produced through automatic writing.\n\nBiography\nBarker was born in 1869 in Leicester, Vermont to Albert G. and Louise Marie Barker, both of whom died while she was young. Her earliest work was as a shorthand reporter, teacher, and newspaper writer. She was an  editor of the Consolidated Encyclopedia Library in 1901, was a lecturer for the New York Board of Education in 1904-1905, and was on the editorial staff of Hamptons magazine in 1909-1910. She also authored a \"labor play\", The Scab, produced in New York and Boston in 1904-1906. Her first novel, The Son of Mary Bethel, was published in 1909.Barker's father had been interested in the occult and she shared this interest, becoming a member of the Theosophical Society. She also was initiated into the Rosicrucian Order of Alpha et Omega.Barker lived in Europe from 1910 to 1914, first in Paris and then in London. She was in London at the outbreak of World War I. In 1912, while in Paris, she felt compelled to write a passage, although she said she did not know where the words came from. She said she was \"strongly impelled to take up a pencil and write.\" She signed the passage \"X\", which at first meant nothing to her. She was told that \"X\" was the nickname of a Los Angeles judge called David P. Hatch and then discovered that Hatch had died before she \"received\" the message. In 1914 she published a book of these messages called Letters from a Living Dead Man. She said that the passages were genuine messages from the dead man and Hatch's son also believed that the communications were from his father. She published two more volumes of Hatch's messages \u2014 War Letters from the Living Dead Man (1915), and Last Letters From the Living Dead Man (1919).\nAround the time of the publication of War Letters from the Living Dead Man in 1915, Barker developed an interest in psychoanalysis. By 1919 she was studying 14 hours a day. From 1928 to 1930 she lived on the French Riviera. Barker died August 31, 1954.\n\nSelected works\nThe Son of Mary Bethel (1909)\nThe Frozen Grail & Other Poems (1910)\nStories from the New Testament for Children (1911)\nThe Book of Love (1912)\nLetters from a Living Dead Man (1914, 1920)\nWar Letters from the Living Dead Man (1915)\nSongs of a Vagrom Angel (1916)\nLast Letters From the Living Dead Man (1919)\nFielding Sargent (1922)\nThe Cobra Candlestick (1928)\nThe C.I.D. of Dexter Drake (1929)\nThe Redman Cave Murder (1930)\nPassage 10:\nAvenger X\nAvenger X (Italian: Mister-X) is a 1967 film based on the Italian comic series Mister-X.\n\nPlot\nGeorge Lamarro is the head of a pharmaceutical company that is also involved in the production and distribution of illegal narcotics.  When his secretary attempts to blackmail him for a share of the profits and his hand in marriage, he has her killed with her death arranged in a way to implicate a master criminal called \"Mister X\" who is a master of disguise, efficient killer and professional golf champion.  The real Mister X uses his skills to discover the criminals are involved in a scheme by an unnamed foreign nation using the company and a Scottish and an American criminal to distribute illegal narcotics in the Western World.\n\nCast\nPier Paolo Capponi as Mister X\nGaia Germani as Timmy\nArmando Calvo as George Lamar\nAnna Zinnemann as Dolly\nUmberto Raho as MacDoug\nRenato Baldini as Jack Caruso\nFranco Fantasia as Inspector Roux\nDante Posani as Jim\nHelga Lin\u00e9 as Gloria\n\nProduction\nAvenger X was based on the comic series Mister-X as created by writer Cesare Melloncelli and drawing artist Giancarlo Tenenti. The comic was first published by Milan's Edizioni Cervinia in October 1964. Unlike other fumetti neri of the era, Mister-X had very little violent content, with the titular character being a gentleman thief similar to Ars\u00e8ne Lupin. In the film, the titular character Mister X visually differs from the comics design who had a black hood and leotard opposed to the red cape, white boots and hood that covers his face that his comic book counterpart wears.Parts of the film were shot in Rome including location shooting at the Stadio dei Marmi.\n\nRelease\nAvenger X was released in Italy in 1967 as Mister X. The English-language title of the film ignores the characters name and is titled Avenger X. Director Piero Vivarelli stated most of the violent scenes in the film were removed from the Italian version of the film to earn a V.M.14 rating.  Censors documents only suggested that 47 seconds of the film were cut in Italy This included scenes where a blowtorch approaches Mister-X's bare chest and a shot of a speedboat moving towards a reef. The film grossed 112 million Italian lire in Italy during its theatrical run. The film was distributed by Euro International.The film was released in Spain on 22 January 1968 where it sold 707,889 admissions.\n\nSee also\nList of films based on comics\nList of Italian films of 1967\nList of Spanish films of 1967", "answers": ["Dead Man'S Letters"], "length": 5645, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "d8a4ba25a31cde41c5ce4581f3c4cbd827cc6fc61b31ffe1"}/n
“input”: This is the question to be answered.
“context”: This is the information needed to answer the question.
“answer”: This is the correct answer(ground truth) to the question.

Task Instructions:
(1) Generate a full and concise reasoning path from the "input" question to the ground truth "answer", using sentences from the "context" to support each step.
(2) For each step in the reasoning path, include one unaltered sentence from the “context” to demonstrate how the information leads to the answer.
(3) Structure the response as a JSON object. Each reasoning step should correspond to one original sentence from the “context”.

Use JSON format with 'step' and 'sentence' for your output.
{
  "reasoning": [
    {
      "step": 1,
      "sentence": "<insert first sentence used from context>"
    },
    {
      "step": 2,
      "sentence": "<insert second sentence used from context>"
    },
    ...
  ]
}
Ensure each “sentence” is copied exactly as in the context without any modifications.