A Free Woman
A Free Woman is a 1954 Italian melodrama film directed by Vittorio Cottafavi.
In 2008 the film was selected to enter the list of the 100 Italian films to be saved.
Eleanor Greenham
Eleanor Constance( Ella) Greenham( 15 April 1874 – 31 December 1957) was the first woman born in Queensland, Australia, to be a registered physician.
Peter Levin
Peter Levin is an American director of film, television and theatre.
Free Woman
Free Woman (자유처녀 - "Jayu cheonyeo") is a 1982 South Korean film directed by Kim Ki-young.
Rebecca Cox Jackson
Rebecca Cox Jackson( 1795–1871) was an African- American free woman, best known for her religious activism and for her autobiography.
Olav Aaraas
Olav Aaraas( born 10 July 1950) is a Norwegian historian and museum director.
He was born in Fredrikstad.
From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History.
In 2010 he was decorated with the Royal Norwegian Order of St. Olav.
Ian Barry (director)
Ian Barry is an Australian director of film and TV.
Jesse E. Hobson
Jesse Edward Hobson( May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955.
Prior to SRI, he was the director of the Armour Research Foundation.
Brian Kennedy (gallery director)
Brian Patrick Kennedy( born 5 November 1961) is an Irish- born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.
He is currently the director of the Peabody Essex Museum.
He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019.
He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia( Canberra) from 1997- 2004.
Kim Ki-young
Kim Ki-young (October 10, 1919 – February 5, 1998) was a South Korean film director, known for his intensely psychosexual and melodramatic horror films, often focusing on the psychology of their female characters.
Kim was born in Seoul during the colonial period, raised in Pyongyang, where he became interested in theater and cinema.
In Korea after the end of World War II, he studied dentistry while becoming involved in the theater.
During the Korean War, he made propaganda films for the United States Information Service.
In 1955, he used discarded movie equipments to produce his first two films.
With the success of these two films Kim formed his own production company and produced popular melodramas for the rest of the decade.
Kim Ki-young's first expression of his mature style was in his "The Housemaid" (1960), which featured a powerful "femme fatale" character.
It is widely considered to be one of the best Korean films of all time.
After a "Golden Age" during the 1960s, the 1970s were a low-point in the history of Korean cinema because of governmental censorship and a decrease in audience attendance.
Nevertheless, working independently, Kim produced some of his most eccentric cinematic creations in this era.
Films such as "Insect Woman" (1972) and "Iodo" (1977) were successful at the time and highly influential on the younger generations of South Korean filmmakers both at their time of release, and with their rediscovery years later.
By the 1980s, Kim's popularity had gone into decline, and his output decreased in the second half of the decade.
Neglected by the mainstream during much of the 1990s, Kim became a cult figure in South Korean film Internet forums in the early 1990s.
Widespread international interest in his work was stimulated by a career retrospective at the 1997 Pusan International Film Festival.
He was preparing a comeback film when he and his wife were killed in a house fire in 1998.
The Berlin International Film Festival gave Kim a posthumous retrospective in 1998, and the French Cinémathèque screened 18 of Kim's films, some newly rediscovered and restored, in 2006.
Through the efforts of the Korean Film Council (KOFIC), previously lost films by Kim Ki-young continue to be rediscovered and restored.
Many current prominent South Korean filmmakers, including directors
Im Sang-soo, Kim Ki-duk, Bong Joon-ho and Park Chan-wook, claim Kim Ki-young as an influence on their careers.

Question: Where was the director of film Free Woman born?
Answer: Seoul