TASK DEFINITION: Given a document, an entity and its sentiment towards the entity, verify if it is the correct sentiment towards the entity. Answer should be yes or no. Note that URLs in the text have been replaced with [Link].
PROBLEM: Verify if the sentiment of the following document towards the entity Alex Wubbels is Negative . This screengrab from video provided by Salt Lake City police  shows  University Hospital in Salt Lake City nurse Alex Wubbels  being handcuffed by police officers. (Photo: Salt Lake City Police)
 The Utah hospital  dragged into the national spotlight after a Salt Lake City detective arrested a nurse for doing her job has apologized to the nurse and banned police officers from conversing with nurses in  the hospital .
Gordon Crabtree  CEO of University of Utah Hospital in Salt Lake City  said hospital security should have intervened when  burn unit nurse Alex Wubbels  was arrested for refusing to allow a detective to take blood from an comatose patient.
"To our nurses and staff â this will not happen again " Crabtree said at a news conference Monday. " âNurse Wubbels  was placed in an unfair and unwarranted position (and)  her  actions were nothing less than exemplary.â
Crabtree said  the hospital  has changed  its  policies and now requires police officers to speak only to senior nurse supervisors. No contacts can be made in patient areas.
The incident took place July 26  but went viral last week after lawyers for  Wubbels  obtained and released the body camera video. The video shows Detective Jeff Payne asking  then insisting  that he be allowed to draw blood from a patient  whose vehicle had been hit by another vehicle.
The video shows  Wubbels  calmly denying Payne's request  saying hospital policy required a judge's order or the patient's consent unless the patient was under arrest. Payne walks toward  Wubbels  saying  "We're done here. We're done. "
 Wubbels  has expressed disappointment that hospital security officers on the scene did nothing to halt her arrest.
University of Utah Police Chief Dale Brophy said his officers wrongly believed Payne had implied consent when they allowed  Wubbels  to be arrested. He described Wubbles as a "rock star."

SOLUTION: no

PROBLEM: Verify if the sentiment of the following document towards the entity Liam Gallagher is Positive . Liam Gallagherâs Twitter feed is legendary.
SEE ALSO: 42 bizarre and hilarious  Liam Gallagher  tweets to improve your day
 Liam  just got back to the UK from America where  he âs been promoting  his  new album As You Were.  He âs taking the weekend off to chill ahead of next week: "I'm reserving all energy until Wednesday when I take on the fucking Q Awards and show them how itâs done."
We had the chance to catch up with  him  in a moment of downtime  and  he  gave us the ultimate guide to being good at Twitter.
Good afternoon all 2 million of you just checking in hope life is treating you well as you were LG x â Liam Gallagher (@liamgallagher) July 20  2017
I know itâs a good record and I know the songs on there are good so I just want it to do well but everyone seems to be like hungry for a Liam Gallagher record which is the most important thing. Iâm 45 and thereâs a new generation listening and Iâm surprised by how many people were wanting a record by me.
Iâve got a lot more to say and I think Iâm a lot more honest  everything  he  does is a bit filtered â  he âs trying to pull the wool over peopleâs eyes and Iâm pretty much telling it how it is whether you agree or not. Like I said  itâs a truth juice.
Call me on the shell phone I know when my hot line bling ha ha LG x pic.twitter.com/SgKcYEoJEc â Liam Gallagher (@liamgallagher) January 10  2016
What do you think about the fact that everyoneâs saying Liam Gallagher for prime minister?

SOLUTION: yes

PROBLEM: Verify if the sentiment of the following document towards the entity Kendall R. Phillips is Positive . 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.)

SOLUTION:
yes