Problem: Given the below context: Frances died in 1986, and Elsie in 1988. Prints of their photographs of the fairies, along with a few other items including a first edition of Doyle's book The Coming of the Fairies, were sold at auction in London for 21,620 in 1998. That same year, Geoffrey Crawley sold his Cottingley Fairy material to the National Museum of Film, Photography and Television in Bradford (now the National Science and Media Museum), where it is on display. The collection included prints of the photographs, two of the cameras used by the girls, watercolours of fairies painted by Elsie, and a nine-page letter from Elsie admitting to the hoax. The glass photographic plates were bought for 6,000 by an unnamed buyer at a London auction held in 2001.Frances' daughter, Christine Lynch, appeared in an episode of the television programme Antiques Roadshow in Belfast, broadcast on BBC One in January 2009, with the photographs and one of the cameras given to the girls by Doyle. Christine told the expert, Paul Atterbury, that she believed, as her mother had done, that the fairies in the fifth photograph were genuine. Atterbury estimated the value of the items at between 25,000 and 30,000. The first edition of Frances' memoirs was published a few months later, under the title Reflections on the Cottingley Fairies. The book contains correspondence, sometimes "bitter", between Elsie and Frances. In one letter, dated 1983, Frances wrote: I hated those photographs from the age of 16 when Mr Gardner presented me with a bunch of flowers and wanted me to sit on the platform [at a Theosophical Society meeting] with him. I realised what I was in for if I did not keep myself hidden. The 1997 films FairyTale: A True Story and Photographing Fairies were inspired by the events surrounding the Cottingley Fairies. The photographs were parodied in a 1994 book written by Terry Jones and Brian Froud, Lady Cottington's Pressed Fairy Book.In 2017 a further two fairy photographs were presented as evidence that the girls' parents were part of the conspiracy.... Guess a valid title for it!

A: Cottingley Fairies

Problem: Given the below context: In 1942, Nazi Germany attempts to bring neutral Turkey into the war on its side by staging an assassination attempt on Franz von Papen, its own ambassador to the country. Much to the annoyance of Colonel Robinson, von Papen survives and the Russians that his agent provocateur was trying to frame have solid alibis, forcing him to turn to another scheme to inflame Turkey's traditional rivalry with Russia. Meanwhile, American machinery salesman Joe Barton boards the Baghdad-Istanbul Express train at Aleppo and is attracted to another passenger, Ana Remzi. She is worried about being searched by customs agents once they reach the Turkish border; she asks Joe to hold on to an envelope containing some securities, all that remains of her inheritance. Joe obliges, but when he later examines the envelope, he finds maps of Turkey with writing on them. When they stop in Ankara, he goes to her hotel to return her property, only to find she has been fatally wounded. He hides when someone else approaches the room. He watches unobserved as Soviet spy Nikolai Zaleshoff searches the dead woman's luggage. Then, Joe exits through the window. Leaving the scene, he is seen by Tamara Zaleshoff, Nikolai's sister and partner in espionage. The Turkish police take Joe in for questioning, only it turns out that they are German agents. They take him to their leader, Colonel Robinson. Robinson wants the maps. Joe refuses to cooperate, and is taken away to be interrogated by Mailler. Before the Germans get very far, Joe is rescued by Nikolai. When the Zaleshoffs reveal that they are Soviet agents, Joe agrees to fetch them the documents. Unfortunately, he finds his hotel room has been ransacked and the documents stolen. Joe, it turns out, is also a spy (for the United States). When he reports to his boss, McNamara, he is assigned an assistant, Hassan. Guess a valid title for it!

A: Background to Danger

Problem: Given the below context: The visualisation and portrayal of landscape in an entirely new manner was Friedrich's key innovation. He sought not just to explore the blissful enjoyment of a beautiful view, as in the classic conception, but rather to examine an instant of sublimity, a reunion with the spiritual self through the contemplation of nature. Friedrich was instrumental in transforming landscape in art from a backdrop subordinated to human drama to a self-contained emotive subject. Friedrich's paintings commonly employed the Ruckenfigura person seen from behind, contemplating the view. The viewer is encouraged to place himself in the position of the Ruckenfigur, by which means he experiences the sublime potential of nature, understanding that the scene is as perceived and idealised by a human. Friedrich created the notion of a landscape full of romantic feelingdie romantische Stimmungslandschaft. His art details a wide range of geographical features, such as rock coasts, forests, and mountain scenes. He often used the landscape to express religious themes. During his time, most of the best-known paintings were viewed as expressions of a religious mysticism. Friedrich said, "The artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also refrain from painting that which he sees before him. Otherwise, his pictures will be like those folding screens behind which one expects to find only the sick or the dead." Expansive skies, storms, mist, forests, ruins and crosses bearing witness to the presence of God are frequent elements in Friedrich's landscapes. Though death finds symbolic expression in boats that move away from shorea Charon-like motifand in the poplar tree, it is referenced more directly in paintings like The Abbey in the Oakwood (180810), in which monks carry a coffin past an open grave, toward a cross, and through the portal of a church in ruins. He was one of the first artists to portray winter landscapes in which the land is... Guess a valid title for it!

A: Caspar David Friedrich

Problem: Given the below context: Academy Award-winning star Margaret "Maggie" Elliot is a bankrupt actress of a certain age struggling to accept her new non-wealthy reality. She is in denial, and confident she can somehow build herself up again and re-launch her career to its earlier brilliance. After suffering another big disappointment while vainly striving to get that last one good role, she gets drunk, is arrested for DUI, and spends a night in jail. She is bailed out by Jim Johannsen, a younger former actor whom she had helped in the past. Jim, now comfortably settled as the owner of a boatyard, admits that he has loved her ever since those days and, helped by Margaret's daughter Gretchen, tries to help Margaret see that her big screen days as a famous actress are already over. She reluctantly tries to work as a saleswoman in an upscale department store, but overhearing some unkind gossip from two customers wounds her pride and she runs out. Her old agent manages to get her a screen test for a role in a film she'd always wanted to play. She is offered and takes a screen test for a supporting role, believing that if she plays that character as a sexy younger woman -- rather than the middle-aged frump she is seen as by the studio -- she might be able to win the more coveted lead role. It does not work out. Guess a valid title for it!

A:
The Star (1952 film)