Question:
James Stanley Brakhage ( BRAK-@j; January 14, 1933 - March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film. Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality, and innocence.
When Brakhage's early films had been exhibited in the 1950s, they had often been met with derision, but in the early 1960s Brakhage began to receive recognition in exhibitions and film publications, including Film Culture, which gave awards to several of his films, including The Dead, in 1962. The award statement, written by Jonas Mekas, a critic who would later become an influential experimental filmmaker in his own right, cited Brakhage for bringing to cinema "an intelligence and subtlety that is usually the province of the older arts." Writer/critic Guy Davenport, an ardent admirer of Brakhage, invited him to the University of Kentucky in March 1964 and tried to get him a residency there. From 1961 to 1964, Brakhage worked on a series of 5 films known as the Dog Star Man cycle. The Brakhages moved to Lump Gulch, Colorado in 1964, though Brakhage continued to make regular visits to New York. During one of those visits, the 16mm film equipment he had been using was stolen. Brakhage couldn't afford to replace it, instead opting to buy cheaper 8mm film equipment. He soon began working in the format, producing a 30-part cycle of 8mm films known as the Songs from 1964 to 1969. The Songs include one of Brakhage's most acclaimed films, 23rd Psalm Branch, a response to the Vietnam War and its presentation in the mass media. Brakhage began teaching film history and aesthetics at the School of the Art Institute of Chicago in 1969, commuting from his home in Colorado.
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What other solutions to the theft did he employ?

Answer:
He soon began working in the format, producing a 30-part cycle of 8mm films known as the Songs from 1964 to 1969.

input: Bowring had begun contributing to the newly founded Westminster Review and had been appointed its editor by Bentham in 1825. By his contributions to the Review he attained considerable repute as a political economist and parliamentary reformer. He advocated in its pages the cause of free trade long before it was popularized by Richard Cobden and John Bright, co-founders of the Anti-Corn Law League in Manchester in 1838. He pleaded earnestly on behalf of parliamentary reform, Catholic emancipation, and popular education. Bentham failed in an attempt to have Bowring appointed professor of English or History at University College London in 1827 but, after Bowring visited the Netherlands in 1828, the University of Groningen conferred on him the degree of doctor of laws in February the next year for his Sketches of the Language and Literature of Holland. In 1830, he was in Denmark, preparing for the publication of a collection of Scandinavian poetry. As a member of the 1831 Royal Commission, he advocated strict parliamentary control on public expenditure, and considered the ensuing reform one of his main achievements. Till 1832, he was Foreign Secretary of the British and Foreign Unitarian Association. Bowring was appointed Jeremy Bentham's literary executor a week before the latter's 1832 death in his arms, and was charged with the task of preparing a collected edition of his works. The appointment was challenged by a nephew but Bowring prevailed in court. The work appeared in eleven volumes in 1843, notably omitting Bentham's most controversial works on female sexuality and homosexuality. Free trade took on the dimensions of faith to Bowring who, in 1841, quipped, "Jesus Christ is free trade and free trade is Jesus Christ", adding, in response to consternation at the proposition, that it was "intimitely associated with religious truth and the exercise of religious principles."

Answer this question "What did he do as an economist?"
output: He pleaded earnestly on behalf of parliamentary reform, Catholic emancipation, and popular education.

Answer the question at the end by quoting:

For the theatre adaptation, see Shakespeare in Love (play). Shakespeare in Love is a 1998 American romantic period comedy-drama film directed by John Madden, written by Marc Norman and playwright Tom Stoppard. The film depicts an imaginary love affair involving Viola de Lesseps (Gwyneth Paltrow) and playwright William Shakespeare (Joseph Fiennes) while he was writing Romeo and Juliet. Several characters are based on historical figures, and many of the characters, lines, and plot devices allude to Shakespeare's plays.
The original idea for Shakespeare in Love came to screenwriter Marc Norman in the late 1980s after a rudimentary pitch from his son Zachary. Norman wrote a draft screenplay which he presented to director Edward Zwick, which attracted Julia Roberts, who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz & Guildenstern Are Dead). The film went into production in 1991 at Universal, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin. The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay. Eventually, Zwick got Miramax interested in the screenplay, but Miramax chose John Madden as director. Miramax boss Harvey Weinstein acted as producer, and persuaded Ben Affleck to take a small role as Ned Alleyn. The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play. Among the locations used in the production were Hatfield House, Hertfordshire (for the fireworks scene), Broughton Castle, Oxfordshire (which played the role of the de Lesseps home), the beach at Holkham in Norfolk, the chapel at Eton College, Berkshire, and the Great Hall of Middle Temple, London.

Who was Zwick?
Zwick as director,