Please answer this: Given the below context: From the age of six and for the rest of his life Saint-Saens composed melodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protege Faure, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career Melodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Faure). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saens himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the melodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne a la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saens composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le deluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saens drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach... Guess a valid title for it!
++++++++
Answer: Camille Saint-Saens

Please answer this: Given the below context: The film begins with Naomi Arkoff being taken by her father Carver Arkoff into the basement of their castle home in Rome, Italy, where there lies a rack. Carver ties Naomi to both ends of the rack and turns the wheel, hurting her. Carver claims that her punishment this time is for having a cell phone, which was against the father's wishes. After begging her father to let her go, Carver unties her, but warns her that the next time she has a cellphone in the house, her punishment is not going to be slow and painful. As she gets released, she runs off upstairs, strangely screaming: "I can run faster than you!" over and over again. The next afternoon, Carver comes downstairs into the dining room to be questioned by his wife Lisbeth about what he did to Naomi the previous night. They then encourage Carver's half brother Peter, who is mentally retarded, to have lunch with them, where Carver tells Peter that the lamb that they're eating was Sophia, who Peter had grown an affection with. When Naomi comes downstairs and finds out what's up, she gives her toy animal of a horse to him, which appears to cheer him up. Later, Lisbeth takes a tray of food upstairs to her father, who throughout the entire film has his face not seen. Lisbeth then continues to read Edgar Allan Poe's "From Childhood's Hour" to him. Afterward, she alerts him that his guardian angels are in the room to protect him, which are shown to be small little creatures with big skull heads. Guess a valid title for it!
++++++++
Answer: Skull Heads

Please answer this: Given the below context: Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Baraklast chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had... Guess a valid title for it!
++++++++
Answer:
Florence Fuller