Q: Given the below context: During Ruisdael's last period he began to depict mountain scenes, such as Mountainous and Wooded Landscape with a River, dateable to the late 1670s. This portrays a rugged range with the highest peak in the clouds. Ruisdael's subjects became unusually varied. The art historian Wolfgang Stechow identified thirteen themes within the Dutch Golden Age landscape genre, and Ruisdael's work encompasses all but two of them, excelling at most: forests, rivers, dunes and country roads, panoramas, imaginary landscapes, Scandinavian waterfalls, marines, beachscapes, winter scenes, town views, and nocturnes. Only the Italianate and foreign landscapes other than Scandinavian are absent from his oeuvre.The imaginary landscapes of gardens that Ruisdael painted in the 1670s actually reflect an ongoing discourse on the picturesque in circles of gardening aesthetes like Constantijn Huygens. Slive finds it appropriate that a windmill is the subject of one of Ruisdael's most famous works. Windmill at Wijk bij Duurstede, dated 1670, shows Wijk bij Duurstede, a riverside town about 20 kilometres (12 mi) from Utrecht, with a dominant cylindrical windmill. In this composition, Ruisdael united typical Dutch elements of low-lying land, water and expansive sky, so that they converge on the equally characteristic Dutch windmill. The painting's enduring popularity is evidenced by card sales in the Rijksmuseum, with the Windmill ranking third after Rembrandt's Night Watch and Vermeer's View of Delft. Windmills featured throughout Ruisdael's entire career.Various panoramic views of the Haarlem skyline and its bleaching grounds appear during this stage, a specific genre called Haerlempjes, with the clouds creating various gradations of alternating bands of light and shadow towards the horizon. The paintings are often dominated by Saint Bavo's Church, in which Ruisdael would one day be buried.While Amsterdam does feature in his work, it does so relatively rarely given that Ruisdael lived there for over 25 years. It does feature in his only... Guess a valid title for it!
A: Jacob van Ruisdael

Q: Given the below context: In Bridger's Wells, Nevada in 1885, Art Croft and Gil Carter ride into town and enter Darby's Saloon. The atmosphere is subdued due to recent incidents of cattle-rustling. Art and Gil are suspected to be rustlers because they have rarely been seen in town. A man enters the saloon and announces that a rancher named Larry Kinkaid has been murdered. The townspeople immediately form a posse to pursue the murderers, who they believe are cattle rustlers. A judge tells the posse that it must bring the suspects back for trial, and that its formation by a deputy (the sheriff being out of town) is illegal. Art and Gil join the posse to avoid raising even more suspicion. Davies, who was initially opposed to forming the posse, also joins, along with "Major" Tetley and his son Gerald. Poncho informs the posse that three men and cattle bearing Kinkaid's brand have just entered Bridger's Pass. The posse encounters a stagecoach. When they try to stop it, the stagecoach guard assumes that it is a stickup, and shoots, wounding Art. In the coach are Rose Mapen, Gil's ex-girlfriend, and her new husband, Swanson. Later that night in Ox-Bow Canyon, the posse finds three men sleeping, with what are presumed to be stolen cattle nearby. The posse interrogates them: a young, well-spoken man, Donald Martin; a Mexican, Juan Martinez; and an old man, Alva Hardwicke (Francis Ford, brother of film director John Ford). Martin claims that he purchased the cattle from Kinkaid but received no bill of sale. No one believes Martin, and the posse decides to hang the three men at sunrise. Martin writes a letter to his wife and asks Davies, the only member of the posse that he trusts, to deliver it. Davies reads the letter, and, hoping to save Martin's life, shows it to the others. Davies believes that Martin is innocent and does not deserve to die. Guess a valid title for it!
A: The Ox-Bow Incident

Q: Given the below context: On a moonlit, tropical night, the native workers are asleep in their outdoor barracks. A shot is heard; the door of a house opens and a man stumbles out of it, followed by a woman who calmly shoots him several more times, the last few while standing over his body. The woman is Leslie Crosbie, the wife of a British rubber plantation manager in Malaya; the man whom she shot is recognized by her manservant as Geoff Hammond, a well-regarded member of the European community. Leslie tells the servant to send for her husband Robert, who is working at one of the plantations. Her husband returns, having summoned his attorney and a British police inspector. Leslie tells them that Geoff Hammond "tried to make love to me" and that she killed him to save her honor. Leslie is placed under arrest and put in jail in Singapore to await trial for murder; that she killed a man makes such a trial inevitable, but her eventual acquittal seems a foregone conclusion, as the white community accepts her story and believes she acted heroically. Only her attorney, Howard Joyce, is rather suspicious. Howard's suspicions seem justified when his clerk, Ong Chi Seng, shows him a copy of a letter Leslie wrote to Hammond the day she killed him, telling him that her husband would be away that evening, and pleading with him to comeimplicitly threatening him if he did not come. Ong Chi Seng tells Howard that the original letter is in the possession of Hammond's widow, a Eurasian woman who lives in the Chinese quarter of town. The letter is for sale, and Ong himself, whom Howard had believed to be impeccable, stands to receive a substantial cut of the price. Howard then confronts Leslie with the damning evidence and she breaks down and confesses to having written it, though she stands by her claim of having killed Hammond in self-defence. Yet Leslie cleverly manipulates the attorney into agreeing to buy back the letter, even though in doing so he will risk his own freedom and career. Guess a valid title for it!
A:
The Letter (1940 film)