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].

[EX Q]: Verify if the sentiment of the following document towards the entity Juan Orlando Hernandez is Positive . Now  Honduran President Juan Orlando Hernandez  appears likely to win a second term on Sunday as well as bolstering the strength of  his  conservative National Party across the board.
" Hernandez  is not just trying to win presidential re-election   he 's trying to expand  his  power from top to bottom  including in the legislature and at the mayoral level " said James Bosworth  the founder of Hxagon  a consulting firm that does predictive analysis in emerging markets.
Fears of just that sort of consolidation â but by left-wing rivals â led  Hernandez 's own party to back a military coup in 2009 against a president it accused of plotting to violate Honduras's seemingly iron-clad constitutional ban on re-election.
The country's highest court backed the 2009 ouster of Manuel Zelaya. But the current court â packed with  Hernandez ' supporters â ruled in 2015 that the constitution could not prevent  him  from running again â outraging opposition leaders.
And corruption remains a major problem for Honduras  casting a shadow across  Hernandez 's administration.
And in September  the son of a former president from  Hernandez 's party  Porfirio Lobo was sentenced in New York to 24 years in prison after revealing his role in a cocaine trafficking conspiracy. Fabio Lobo  46  pleaded guilty in May 2016  admitting he worked with drug traffickers and Honduran police to ship cocaine into the United States.
[EX A]: no

[EX Q]: Verify if the sentiment of the following document towards the entity Jacob Zuma is Neutral . JOHANNESBURG (Reuters) - South Africaâs ruling African National Congress party on Tuesday put off a key meeting due to discuss President Jacob Zumaâs future later this week  while an online news service quoted sources saying he was ready to quit if certain conditions were met.
 Zuma  has been in a weakened position since  he  was replaced as leader of the ANC by Deputy President Cyril Ramaphosa in December.  Zuma  no longer holds a top position in the party.
But the scheduled meeting of the National Executive Committee  which has the power to demand that  Zuma  step down  was suddenly moved to the weekend of Feb. 17.
The party has faced uncertainty over how its dual power structure will function  after Ramaphosa took the reins of the party with  Zuma  remaining as head of state. Zumaâs tenure officially runs until mid-2019.
Then  Times Live  an online news service  issued a report citing sources saying  Zuma  would resign as soon as a list of preconditions has been finalised in a deal struck with Ramaphosa.
Magashule  who attended the meeting between the two leaders  would not confirm whether  Zuma  had agreed to resign  although other ANC leaders said the agreed deal would see  Zuma  âgo in a dignified wayâ  Times Live said.
 Zuma  has been South Africaâs most controversial president since the end of white minority rule in 1994  enwrapped in scandal during a tumultuous nine years in power.
 He  has faced several allegations of corruption. Some within the ANC and the opposition say the Gupta family  friends of  Zuma   have used their links with the president to win work with the state. The Guptas and  Zuma  have denied any wrongdoing.
 He  waved to reporters after meeting Ramaphosa at the presidentâs office in Cape Town  where the president also chaired routine meetings   his  spokesman said.
Members of the media are seen behind a bust of Nelson Mandela outside Parliament after it was announced that the State of the Nation address  due to be delivered by  President Jacob Zuma   has been postponed  in Cape Town  South Africa  February 6  2018. REUTERS/Sumaya Hisham
In a statement  the presidency denied claims by the South African Communist Party  a key ally of the ruling party  that  Zuma  was preparing to fire Ramaphosa as deputy president and replace  him  with ex-wife  Nkosazana Dlamini Zuma.
Facing a no-confidence motion in parliament set for Feb. 22   Zuma  has survived several attempts to oust  him  in the past. But this time around a significant part of the ANC wants  him  to step down well before  his  second term ends mid next year.
The opposition parties had demanded that the speech be postponed until  Zuma  was removed from the leadership.
The rand  which has tended to strengthen on signs that  Zuma  could step down before  his  second term as president ends next year  was firmer on Tuesday.
The ANCâs top six most powerful officials met  Zuma  late on Sunday at  his  official residence in Pretoria. There was no announcement of the outcome though sources said  he  had refused a demand to go.
 Zuma  has also resisted a call to go by Zulu King Goodwill Zwelithini  the influential head of South Africaâs biggest ethnic group in the presidentâs home province of KwaZulu-Natal  according to BusinessDay newspaper.
[EX A]: no

[EX Q]: Verify if the sentiment of the following document towards the entity Kendall R. Phillips is Negative . 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.)
[EX A]:
no