Answer the question at the end by quoting:

Edward Sapir (; January 26, 1884 - February 4, 1939) was an American anthropologist-linguist, who is widely considered to be one of the most important figures in the early development of the discipline of linguistics. Sapir was born in German Pomerania; his parents emigrated to United States of America when he was a child. He studied Germanic linguistics at Columbia, where he came under the influence of Franz Boas who inspired him to work on Native American languages.
The First World War took its toll on the Canadian Geological Survey, cutting funding for anthropology and making the academic climate less agreeable. Sapir continued work on Athabascan, working with two speakers of the Alaskan languages Kutchin and Ingalik. Sapir was now more preoccupied with testing hypotheses about historical relationships between the Na-Dene languages than with documenting endangered languages, in effect becoming a theoretician. He was also growing to feel isolated from his American colleagues. From 1912 Florence's health deteriorated due to a lung abscess, and a resulting depression. The Sapir household was largely run by Eva Sapir, who did not get along well with Florence, and this added to the strain on both Florence and Edward. Sapir's parents had by now divorced and his father seemed to suffer from a psychosis, which made it necessary for him to leave Canada for Philadelphia, where Edward continued to support him financially. Florence was hospitalized for long periods both for her depressions and for the lung abscess, and she died in 1924 due to an infection following surgery, providing the final incentive for Sapir to leave Canada. When the University of Chicago offered him a position, he happily accepted. During his period in Canada, Sapir came into his own as the leading figure in linguistics in North America. Among his substantial publications from this period were his book on Time Perspective in the Aboriginal American Culture (1916), in which he laid out an approach to using historical linguistics to study the prehistory of Native American cultures. Particularly important for establishing him in the field was his seminal book Language (1921), which was a layman's introduction to the discipline of linguistics as Sapir envisioned it. He also participated in the formulation of a report to the American Anthropological Association regarding the standardization of orthographic principles for writing Indigenous languages. While in Ottawa, he also collected and published French Canadian Folk Songs, and wrote a volume of his own poetry. His interest in poetry led him to form a close friendship with another Boasian anthropologist and poet, Ruth Benedict. Sapir initially wrote to Benedict to commend her for her dissertation on "The Guardian Spirit", but soon realized that Benedict had published poetry pseudonymously. In their correspondence the two critiqued each other's work, both submitting to the same publishers, and both being rejected. They also were both interested in psychology and the relation between individual personalities and cultural patterns, and in their correspondences they frequently psychoanalyzed each other. However, Sapir often showed little understanding for Benedict's private thoughts and feelings, and particularly his conservative gender ideology jarred with Benedict's struggles as a female professional academic. Though they were very close friends for a while, it was ultimately the differences in worldview and personality that led their friendship to fray. Before departing Canada, Sapir had a short affair with Margaret Mead, Benedict's protege at Columbia. But Sapir's conservative ideas about marriage and the woman's role were anathema to Mead, as they had been to Benedict, and as Mead left to do field work in Samoa, the two separated permanently. Mead received news of Sapir's remarriage while still in Samoa, and burned their correspondence there on the beach.

What are some other accomplishments?

he laid out an approach to using historical linguistics to study the prehistory of Native American cultures.

IN: Kenneth Anger (born Kenneth Wilbur Anglemyer; February 3, 1927) is an American underground experimental filmmaker, actor and author. Working exclusively in short films, he has produced almost forty works since 1937, nine of which have been grouped together as the "Magick Lantern Cycle". His films variously merge surrealism with homoeroticism and the occult, and have been described as containing "elements of erotica, documentary, psychodrama, and spectacle". Anger himself has been described as "one of America's first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner", and his "role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate", with several being released prior to the legalization of homosexuality in the United States.

As Anger discovered his homosexuality, at a time when homosexual acts were still illegal in the United States, he began associating with the underground gay scene. At some point in the mid-1940s, he was arrested by the police in a "homosexual entrapment", after which he decided to move out of his parents' home, gaining his own sparse apartment largely financed by his grandmother, and abandoning the name Anglemyer in favor of Anger. He started attending the University of Southern California, where he studied cinema, and also began experimenting with the use of mind-altering drugs like cannabis and peyote. It was then that he decided to produce a film that would deal with his sexuality, just as other gay avant-garde film makers like Willard Maas were doing in that decade. The result was the short film Fireworks, which was created in 1947 but only exhibited publicly in 1948. Upon release of the work, Anger was arrested on obscenity charges. He was acquitted, after the case went to the Supreme Court of California, which deemed it to be art rather than pornography. Anger made the claim to have been seventeen years old when he made it, despite the fact that he was actually twenty, presumably to present himself as more of an enfant terrible. A homoerotic work lasting only 14 minutes, Fireworks revolves around a young man (played by Anger himself) associating with various navy sailors, who eventually turn on him, stripping him naked and beating him to death, ripping open his chest to find a compass inside. Several fireworks then explode, accompanied by a burning Christmas tree and the final shot shows the young man lying in bed next to another topless man. Of this film, Anger would later state in 1966 that "This flick is all I have to say about being 17, the United States Navy, American Christmas and the fourth of July." He would continuously alter and adapt the film up until 1980, with it finally being distributed on VHS in 1986. One of the first people to buy a copy of Fireworks was the sexologist Dr. Alfred Kinsey of the Institute for Sex Research. He and Anger struck up a friendship that would last until the doctor's death, during which time Anger aided Kinsey in his research. According to Anger's unofficial biographer Bill Landis, Kinsey became a "father figure" whom Anger "could both interact with and emulate." Meanwhile, in 1949 Anger began work on a film called Puce Women, which unlike Fireworks was filmed in color. It starred Yvonne Marquis as a glamorous woman going about her daily life; Anger would later state that "Puce Women was my love affair with Hollywood... with all the great goddesses of the silent screen. They were to be filmed in their homes; I was, in effect, filming ghosts." A lack of funding meant that only one scene was ever produced, which was eventually released under the title Puce Moment. That same year, Anger directed The Love That Whirls, a film based upon Aztec human sacrifice but, because of the nudity that it contained, it was destroyed by technicians at the film lab, who deemed it to be obscene.

What he convicted?

OUT:
charges. He was acquitted, after the case went to the Supreme Court of California, which deemed it to be art rather than pornography.