Question: What work, written by Augustina Bessa Luis, was inspired by "The Night Watch"?
About the article "The Night Watch", section "Cultural legacy".

Candidate passages:
 The work has inspired musical works in both the classical and rock traditions, including the second movement of Gustav Mahler's 7th Symphony and Ayreon's "The Shooting Company of Captain Frans B. Cocq" from "".
 Alexander Korda's 1936 biographical film "Rembrandt" depicts the painting, shown in error in its truncated form, as a failure at its completion, perceived as lampooning its outraged subjects.
 In King Crimson's song "The Night Watch", on its 1974 album "Starless and Bible Black", the lyricist Richard Palmer-James muses on the painting to capture a key period in Dutch history, when, after a long period of “Spanish Wars,” the merchants and other members of the bourgeoisie can turn their lives inward and focus on the tangible results of their lives’ efforts.
The song adopts a number of perspectives, including the primary subjects and the artist himself, and paints a mini-portrait of the emergence of the modern upper-middle class and the consumerist culture.
However, the song presents this portrait with a deft touch, and while not fully approving, is sympathetic in tone.
 In Jean-Luc Godard's 1982 film, "Passion", "The Night Watch" is reenacted with live actors in an opening shot.
Godard explicitly compares his film to Rembrandt's painting, describing them both as "full of holes and badly-filled spaces."
He instructs the viewer not to focus on the overall composition, but to approach his film as one would a Rembrandt and "focus on the faces.
"
 "The Night Watch" is a major plot device in the eponymous 1995-film, Night Watch, which focuses on the painting's theft.
 "The Night Watch" is parodied on the British cover of Terry Pratchett's 2002 book by the same name.
The cover illustrator, Paul Kidby, pays tribute to Rembrandt by placing him in the picture, in the position where Rembrandt is said to have painted himself.
 "The Night Watch" is the subject of a 2007-film by director Peter Greenaway called "Nightwatching", in which the film posits a conspiracy within the musketeer regiment of Frans Banning Cocq and Willem van Ruytenburch, and suggests that Rembrandt may have immortalized a conspiracy theory using subtle allegory in his group portrait of the regiment, subverting what was to have been a highly prestigious commission for both painter and subject.
His 2008 film "Rembrandt's J'Accuse" is a sequel or follow-on, and covers the same idea, using extremely detailed analysis of the compositional elements in the painting; in this Greenaway describes "The Night Watch" as (currently) the fourth most famous painting in the Western world, after the Mona Lisa, the Last Supper and the ceiling of the Sistine Chapel.
 In 2006 "The Night Watch" has inspired the literary work A Ronda da Noite by the famous Portuguese writer Agustina Bessa Luís.
Since the 1970s, Oliveira has been at his most active, with the vast majority of his films having been made after his seventy-fifth birthday.
Whether a late bloomer or a victim of unfortunate delays and political censorship, he has become Portugal's preeminent filmmaker during the later part of his long life.
Film critic J. Hoberman has said "at an age when many men think of retirement, Oliveira emerged from obscurity as one of the 70s leading modernists, a peer of Straub, Syberberg and Duras."
With a newfound artistic freedom after António de Oliveira Salazar's stroke in 1968 and the April 1974 Carnation Revolution, Oliveira's career began to flourish and receive international acclaim.
Ironically the Carnation Revolution also resulted in his families factories being occupied by factions of the Left and subsequently going bankrupt.
Due to this, Oliveira lost most of his personal wealth and his home of thirty-five years.
Oliveira's second return to filmmaking came in 1971 with "Past and Present" ("O Passado e o Presente"), a satirical black comedy on marriage and the bourgeoisie.
With its lyrical surrealism and farcical situations, the film was a shift from his earlier work about lower-class people.
Based on a play by Joao Cesar Monteiro, the film stars Maria de Saisset as Vanda, a woman who only falls in love with her husbands after they have died.
"Past and Present" was the first of what has become known as Oliveira's "Tetralogy of frustrated loves".
It was followed by "Benilde or the Virgin Mother", "Doomed Love" and "Francisca".
Each of these films share the theme of unfulfilled love, the backdrop of a repressive society, and the beginning of Oliveira's unique cinematic style.
"Benilde or the Virgin Mother" ("Benilde ou a Virgem Mãe") was based on a play by Oliveira's long-time friend and fellow Salazar regime dissident José Régio and released in 1975.
This would be the first of many films that would examine the relationship between film and theater in Oliveira's work, and the film opens with roaming exterior shots of the Tobis Studios in Lisbon until reaching the constructed set of the film.
In the film Benilde is a sleepwalking eighteen-year-old who mysteriously becomes impregnated and believes herself to have been chosen for immaculate conception, despite the angry and dismissive reactions of her bourgeoisie family and friends.
Upon its release, the film was criticized for being irrelevant to the political climate of 1975 Portugal.
However Oliveira defended its depiction of a moralistic and social repression on its characters as not being "in opposition to or in contradiction with our own times.
""Doomed Love" ("Amor de Perdição ") is a tragic love story based on the novel by Camilo Castelo Branco.
The film depicts the doomed love affair of Teresa and Simao, who come from two rival wealthy families.
Teresa is sent to a convent for refusing to marry her cousin Baltasar, and after Simao kills Baltasar he is sentenced to death and eventually sent into exile.
Teresa dies after Simao is sent away, and Simao dies at sea.
Oliveira made two versions of the film: a six-part television miniseries that was broadcast in 1978 to disastrous reviews, and a shorter theatrical film released in 1979, which received rave reviews and was profiled on the cover of "Le Monde".
Oliveira has stated that whereas most film adaptations of literature attempt to adapt the narrative to film, he wanted instead to adapt "the text" of Branco's novel, much like Jean-Marie Straub and Daniele Huillet's "The Chronicle of Anna Magdalena Bach" was a film more about music itself than about its own story.
He has stated that "in a novel where a lot happens, it would be a waste of time to show everything.
Besides, the literary narration, the way of telling the story, the style, the sonorousness of the phrases, the composition are all just as beautiful and interesting as the events that unfold.
Therefore, it seemed convienent for me to focus on the text, and that is what I did."
The film achieves this idea by including extensive narration, characters that speak their thoughts or read letters aloud and shots of written text.
In 1981 Oliveira made "Francisca", based on the novel by Agustina Bessa Luis.
The film is a tragic love triangle detailing a real life relationship between Fanny Owen, "Amor de Perdição" author Camilo Castelo Branco and Branco's best friend Jose Augusto.
Oliveira's wife was a distant relative of Owen and had access to private letter's written by all three protagonists in the film.
The film was screened to great acclaim at the Director's Fortnight at the 1981 Cannes Film Festival and furthered Oliveira's global recognition.
In addition to "Francisca", Oliveira has adapted six other novels or stories from author Augustina Bessa Luis, as well as collaborated on the screenplay for the documentary "Visita ou Memórias e Confissões".
This was also the first film which Oliveira made with producer Paulo Branco, who would go on to produce the majority of Oliveira's film, and with actor Diogo Dória.
Following the success of "Francisca", Oliveira made three documentary films.
"Visita ou Memórias e Confissões" is an autobiographical documentary about Oliveira's family history.
After completing the film, he decided that it will not be released until after his death.
He then made "Lisboa Cultural" and "Nice... À Propos de Jean Vigo ", a documentary for French television on the city of Nice, and also a tribute to French filmmaker Jean Vigo.
Oliveira then made his most ambitious film to that date, "The Satin Slipper" ("Le Soulier de Satin"), based on the notorious 1929 epic play by Paul Claudel, which is rarely performed in its entirety due to its length.
The seven hour film took Oliveira two years to complete.
It was Oliveira's first film in French, as well as his first film with actor Luís Miguel Cintra, who would go on to act in all of his films from then on.
The story of "The Satin Slipper" is about the unrequited love of sixteenth century conquistador Don Rodrigue and nobelwoman Dona Prouheze with the backdrop of colonialism in Africa and the Americas.
The film opens with a theater gradually being filled with an audience and an introduction to the film on stage.
The film itself uses very theatrical set pieces, such as cardboard waves and backdrops.
The film was never released theatrically, but was screened at both the 1985 Cannes Film Festival and the 1985 Venice Film Festival, where Oliveira received a special Golden Lion for his career up to that point.
Later the Brussels Cinematheque awarded the film its L'Âge d'or Prize.
In 1986 Oliveira made one of his most experimental films, "My Case" ("Mon Cas"), partially based on José Régio's one act play "O Meu Caso", although the film also takes inspiration from Samuel Beckett's "Fizzles" and the Book of Job.
Oliveira takes a surreal and meta-narrative approach to examine the relationship between art and life.
The film begins with a theater being filled with the audience and actors before a play is about to begin.
A mysterious man play by Luis Miguel Cintra enters the stage and presents "his case" about the fallacies of theater and its illusions.
One by one all of the play's actors and technicians state their cases about what bothers them about the play and its relation to their own lives.
An audience member then takes the stage to make a case for what the collective audience wants.
This is followed by three consecutive but very different versions of the one act play: the first is a straight forward farce, the second is presented as a slapstick silent movie, and the third is performed with the dialogue read backwards.
The stage performance ends with video footage of war and disasters from around the world and Pablo Picasso's painting "Guernica".
The entire film then shifts to a retelling of the Book of Job, with Cintra as Job and Bulle Ogier as his wife.
This sequence ends with a close-up of Leonardo da Vinci's "Mona Lisa".
"My Case" opened the 1986 Venice Film Festival and was released in 1987.
Oliveira next made a satirical film in the tradition of Luis Buñuel, "The Cannibals" ("Os Canibais") in 1988.
The film is based on a short story by Álvaro Carvalhal and stars Luis Miguel Cintra, Leonor Silveira and Diogo Dória.
José Régio first showed Oliveira the little known story, and Oliveira decided to make the film his only opera in collaboration with composer Joao Paes.
The film also contains a demonic narrator Niccolo who appears and disappears from scenes magically.
In the film, the beautiful young Margarida (Silveira) falls in love with the mysterious Viscount of Aveleda (Cintra), while rejecting the advances of the notorious Don João (Dória).
On their wedding night, the Viscount reveals to Margarida that his great mystery is that he has no arms or legs and is "a living corpse".
Margarida throws herself out of their bedroom window in horror and the Viscount attempts to drink poison but rolls into the fireplace instead, singing an aria as he burns to death.
Just then Don João enters intending to murder the Viscount in jealously and witnesses the Viscounts death.
The next morning, Margarida's father, brothers and family magistrate wake up and want to be served breakfast, but find an empty house.
They look for the Viscount, but only discover a strange meat cooking in the fireplace, and conclude that it is a strange delicacy being prepared for them.
The four men unknowingly eat the Viscount's body for breakfast with great delight.
Suddenly they hear a gunshot and rush to the garden where they find Margarida's dead body and Don João sitting next to her with a self- inflicted gunshot wound in his chest.
As Don João dies, he explains everything that has happened to the family and tells them they can find the Viscount in the fireplace.
Horrified at their own cannibalism, the father and brother's decide to commit suicide until the magistrate points out that they are now the sole heirs to the Viscount's fortune.
The father and brother's decide to live, and turn into rapid dogs and eat the magistrate, who has turned into a pig.
"The Cannibals" was screened in competition at the 1988 Cannes Film Festival and won the Critics Special award at the 1988 São Paulo International Film Festival. 
Augustina Stridsberg, formerly Augustina Jirku (born in Vienna, c. 1896), was an American citizen, and the mother of Margietta Voge (née Jirku).
Both mother and daughter worked for Soviet intelligence between 1943 and 1944.
Stridsberg worked for the KGB San Francisco office.
Her code name with Soviet intelligence, as deciphered by the Venona project, was "Klara".
Stridsberg was also a writer and an interpreter as well as a literary translator. 
Pancrace Bessa (1772 – 1846) was a French natural history artist, best known for his botanical illustrations.
Bessa was a student of the great engraver Gerard van Spaendonck and worked alongside Pierre-Joseph Redouté, some of whose influence shows in Bessa's detailed and delicate treatment of his subjects.
He was a regular exhibitor at the Paris Salons between 1806 and 1831.
Bessa's favourite subjects were fruit and flowers, with occasional digressions to birds and mammals.
In 1816, the Duchesse de Berry, daughter-in-law of King Charles X of France, extended her patronage to him, which led to his giving painting lessons to the de Berry family.
Their art connections went back to the "Très Riches Heures du Duc de Berry".
Bessa also worked on the French royal watercolour collection on vellum the "Velins du Roi" from 1823 until his death.
In the early nineteenth century, Bessa, Redouté, Jean-Louis Prévost, Lancelot Théodore Turpin de Crissé, and Madame Vincent raised France to pre-eminence in the genre of botanical painting.
Bessa developed a masterful use of stipple engraving technique, an essential part of colour printing.
Bessa and Redoute collaborated on the "Histoire des Arbres Forestiers de L'Amerique Septentrionale", which appeared between 1810 and 1813.
He prepared some 572 watercolours for "L'Herbier Général de L'Amateur" by Mordant de Launey and Loiseleur Longchamp, which appeared between 1810 and 1826.
"Description des Plantes cultivees a Malmaison a Navarre" used 9 of Bessa's illustrations and 54 by Redouté.
Bessa’s final work was "Flore des Jardiniers", published in 1836. 
The Estádio do Bessa (now "Estádio do Bessa XXI") is a football stadium located in the Boavista area of Porto, Portugal, used by Boavista.
Like other stadiums used in Euro 2004, the Bessa is a new ground, but built on top of the old stands, and each one of them was built at a time, which allowed Boavista to continue playing there.
The former 'Campo do Bessa' existed on the same place as the new stadium since 1911.
It cost €45,164,726 to build, from which €7,785,735 were supported from the Portuguese state, and has an all-seater capacity of 28,263.
Plans for improvement actually existed before the organization of the Euro 2004 was given to Portugal in 1999, and by then the first works were already underway.
It was designed by Grupo3 arquitectura.