Some context: Born Florence Annie Bridgwood in Hamilton, Ontario, she was youngest of three children of George Bridgwood, an English-born carriage builder and Charlotte "Lotta" Bridgwood (nee Dunn), a vaudeville actress. Charlotte Bridgwood had emigrated to Canada from Ireland after the Great Famine with her family as a child. She was known professionally as Lotta Lawrence and was the leading lady and director of the Lawrence Dramatic Company. At the age of three, Lawrence made her debut onstage with her mother in a song and dance routine.
Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.
Are there any other interesting aspects about this article?
A: When they returned to the United States, they joined a film company headed by Siegmund Lubin,
Some context: Dame Agatha Mary Clarissa Christie, Lady Mallowan, (nee Miller; 15 September 1890 - 12 January 1976) was an English writer. She is known for her 66 detective novels and 14 short story collections, particularly those revolving around her fictional detectives Hercule Poirot and Miss Marple. Christie also wrote the world's longest-running play, a murder mystery, The Mousetrap, and six romances under the name Mary Westmacott. In 1971 she was appointed a Dame Commander of the Order of the British Empire (DBE) for her contribution to literature.
Christie had a lifelong interest in archaeology. She met her second husband, Sir Max Mallowan, a distinguished archaeologist, on a trip to the excavation site at Ur in 1930. But her fame as an author far surpassed his fame in archaeology. Prior to meeting Mallowan, Christie had not had any extensive brushes with archaeology, but once the two married, they made sure to only go to sites where they could work together. Christie accompanied Mallowan on countless archaeological trips, spending 3-4 months at a time in Syria and Iraq at excavation sites at Ur, Nineveh, Tell Arpachiyah, Chagar Bazar, Tell Brak, and Nimrud. She wrote novels and short stories, but also contributed work to the archaeological sites, more specifically to the archaeological restoration and labelling of ancient exhibits, including tasks such as cleaning and conserving delicate ivory pieces, reconstructing pottery, developing photos from early excavations which later led to taking photographs of the site and its findings, and taking field notes. Christie would always pay for her own board and lodging and her travel expenses so as to not influence the funding of the archaeological excavations, and she also supported excavations as an anonymous sponsor. During their time in the Middle East, there was also a large amount of time spent travelling to and from Mallowan's sites. Their extensive travelling had a strong influence on her writing, as some type of transportation often plays a part in her murderer's schemes. The large amount of travel was reused in novels such as Murder on the Orient Express, as well as suggesting the idea of archaeology as an adventure itself. After the Second World War, she chronicled her time in Syria with fondness in Come Tell Me How You Live. Anecdotes, memories, funny episodes are strung in a rough timeline, with more emphasis on eccentric characters and lovely scenery than on factual accuracy. From 8 November 2001 to 24 March 2002, The British Museum had an exhibit named Agatha Christie and Archaeology: Mystery in Mesopotamia, which presented the life of Agatha Christie and the influences of archaeology in her life and works.
What did she say about archaeology?
A:
She wrote novels and short stories, but also contributed work to the archaeological sites, more specifically to the archaeological restoration