Given a document and an entity the task is to select the author's sentiment towards the entity. Sentiments can be Positive, Neutral and Negative. Select Positive if the article expresses a positive view towards the given entity or praises its quality or skills. Select Neutral if the document expresses no clear view towards the entity or has equal amounts of positive and negative statements or expressing some fact/quote by someone else. Select Negative if the article expresses a negative view towards like harsh remarks, criticizing entities action/decision etc. Note that URLs in the text have been replaced with [Link].

[Q]: What is the sentiment of the following document towards the entity Christopher Wray ? Follow a critique of the FBI by President Trump on Monday   Christopher Wray   the director of the FBI  sent out an internal letter to employees on Monday  a government source confirmed to Fox News.
In it   Wray  wrote that  he  was "inspired by example after example of professionalism and dedication to justice demonstrated around the Bureau. It is truly an honor to represent you."
"We are entrusted with protecting the American people and upholding the Constitution and laws of the United States "  Wray  also wrote. "Because of the importance of our mission  we are also entrusted with great power  and we should expect – and welcome – people asking tough questions about how we use that power. That goes with this job and always has."
 Wray  emerged from a list of former prosecutors  politicians and law enforcement officials interviewed by Trump to become director of the bureau.
When was  Wray  installed as FBI Director?
 Wray  was formally installed as the new director of the FBI on Sep. 28  after  he  was confirmed by the Senate on a 92-5 vote in August. All five nay votes came from Democrats.
 He  was unanimously approved by the Senate Judiciary Committee in July  after  he  appeared before the committee. President Trump called Wray "an impeccably qualified individual" in a June statement.
What did  Wray  do before  he  was confirmed by the Senate?
 Wray  worked at the King & Spalding law firm  where  he 'd been a partner since August 2005   his  Senate Judiciary Committee questionnaire said.
 Wray  also represented New Jersey governor Chris Christie during the investigation into the George Washington Bridge lane-closing case  nicknamed "Bridgegate." Two former Christie aides were convicted of plotting to close bridge lanes to punish a Democratic mayor who wouldn't endorse the Republican governor.
What about  Wray 's time at the Department of Justice (DOJ)?
 Wray  worked as an associate deputy attorney general in 2001  before  he  was principal associate deputy attorney general from 2001 - 2003   his  Senate Judiciary Committee questionnaire says. From 2003 to 2005   Wray  worked as assistant attorney general for the criminal division under President George W. Bush.
What do we know about  Wray 's career before working for the DOJ?
 Wray  graduated from Yale University in 1989 before graduating from  its  law school three years later  the DOJ says online.  He  was an assistant U.S. attorney in Georgia from 1997 to 2001.
Before that   Wray  was an associate at King and Spalding from 1993 to 1997  according to  his  Senate Judiciary Committee questionnaire. From 1992 to 1993   he  was a clerk for Judge J. Michael Luttig  with the U.S. Court of Appeals for the Fourth Circuit.
[A]: Positive


[Q]: What is the sentiment of the following document towards the entity Harry Potter ? LONDON (Reuters) -  Harry Potter  is continuing to work  his  magic for publisher Bloomsbury (BLPU.L) 20 years after  his  debut  with special editions of  his  first adventure helping revenue rise 15 percent.
FILE PHOTO: Copies of the book of the play of  Harry Potter  and the Cursed Child parts One and Two are displayed at a bookstore in London  Britain July 31  2016. REUTERS/Neil Hall/File Photo
Bloomsbury released new editions of J.K. Rowling’s “ Harry Potter  and the Philosopher’s Stone” with covers dedicated to wizarding school Hogwarts’ houses Gryffindor  Slytherin  Hufflepuff and Ravenclaw to mark the anniversary in June.
 Revenue from Harry Potter  grew 40 percent in the period   the company  said on Tuesday  and the young wizard and  his  magical world will feature strongly in the publisher’s assault on the important Christmas market.
“We have a strong second-half list including the illustrated edition of ‘ Harry Potter  and the Prisoner of Azkaban ’ the illustrated edition of ‘Fantastic Beasts and Where to Find Them’ and two major books to accompany the British Library’s  Harry Potter  exhibition ” said Chief Executive Nigel Newton.
FILE PHOTO: A woman holds copies of the book of the play of  Harry Potter  and the Cursed Child parts One and Two at a bookstore in London  Britain July 31  2016. REUTERS/Neil Hall/File Photo
Analyst Steve Liechti at Investec said Bloomsbury’s second-half list looked strong  with cookery titles from Paul Hollywood  Tom Kerridge and Hugh Fearnley-Whittingstall as well as the new Harry Potter editions.
[A]: Positive


[Q]: What is the sentiment of the following document towards the entity Kendall R. Phillips ? The camera is an instrument of suspense. Given a movie frame  you want to understand what's happening in it â and what will happen next. That balance of wonder and dread is a fundamental draw of film  and a touchstone of the horror genre. The questions Kendall R. Phillips asks in A Place of Darkness: The Rhetoric of Horror in Early American Cinema are: How did we get from the nickelodeon special-effects "cinema of attractions" to understanding horror narratives as their own genre? And what does America's relationship with horror tell us about the idea of being American in the first place?
A Place of Darkness is about as academic as they come; expect discussion of the "paradigm of monstration" and the ways weird films "provided a counternarrative to the emerging American rationalist epistemology." But the book's central arguments make for great reading  as  Phillips  lays out the ways that proto-horror movies contained distinct and disparate rhythms (suspense  surprise  superstition)  how the need for legitimacy led to literary adaptation as a horror standard  how movies developed alongside audiences to bring new immediacy to onscreen dread  and how shifting visions of the Other forced movies to constantly renegotiate what  exactly  people were meant to be afraid of.
 Phillips  draws these elements together under the idea of horror as an exploration of cultural fears within 'acceptable' parameters. When "the pressure to create a homogeneous American culture necessitated securing the popular American movie screen for the purpose of indoctrinating immigrants " the past was an old world fraught with terrors  and the present was a new one full of uncertainty. "Both on the screen and in the discussions surrounding early screen practice  a line of demarcation was drawn between the incredulous  civilized  white American male and the superstitious  uncivilized  gendered  and racialized Other." (Though this book ends with Dracula and Frankenstein  there's a straight line to the cultural conversations modern films are having with their own genre histories â look no further than Get Out for a horror movie that tackles this dynamic head-on and radically redraws that line of demarcation.)
As with many academic texts  this effort to frame a new argument means the book only scrapes the surface of some of its most interesting suggestions. We're duly warned that  Phillips  intended "an exercise in rhetorical criticism  in that  its  focus has been on the way these horrific elements were depicted  discussed  and contested " but that question of American identity and the shifting Other is compelling enough to overwhelm some of the rhetorical specifics. (Several early thrillers that use inheritances  wagers  and other greed as the motive for crime and terror are listed in order to slot them into the 'melodrama' aspect of emerging horror. But was this merely a reason to fill a house with false ghosts? Was there some deeper American unease about money and the wealthy in the late 1920s that spurred so many successful movies in which the unscrupulous rich made life miserable for others? Perhaps the book's designed to prompt such questions from the reader; if there's one thing an academic text will tell you  there's always room for more research.)
[A]:
Positive