Question: Which is a film director, George Albert Smith and Jean-Marc Vallée?

Context articles: The X-Rays
The Old Maid's Valentine
The Death of Poor Joe
Jean-Marc Vallée
Spiders on a Web
Let Me Dream Again
George Albert Smith
Smith Fieldhouse
George A. Smith
As Seen Through a Telescope

The X-Rays (also known as The X-Ray Fiend) is a 1897 British short silent comedy film, directed by George Albert Smith, featuring a courting couple exposed to X-rays.
 The trick film, according to Michael Brooke of BFI Screenonline, "contains one of the first British examples of special effects created by means of jump cuts" Smith employs the jump-cut twice; first to transform his courting couple via "X rays," dramatized by means of the actors donning black bodysuits decorated with skeletons, and then to return them to normal.
 The couple in question were played by Smith's wife Laura Bayley and Tom Green (a Brighton comedian).
The Old Maid's Valentine is a 1900 British short silent comedy film, directed by George Albert Smith, which features the titular Miss Pimple receiving an unpleasant surprise on 14 February.
 The film, according to Michael Brooke of BFI Screenonline, "is essentially a "facial" - a medium close-up shot of a single performer whose changing expression constitutes virtually all the film's dramatic action."
 David Fisher points out that, "the flapping of the sheet of paper and the movement of the calendar betray the open-air set," which, "makes it difficult to read the message: "Just like Mama"," whilst, "the remarkably well-behaved cat," which, "sits patently licking its paws," "suggests that Smith may have already learned the trick of smearing the cat's fur with food."
The Death of Poor Joe is a 1901 British short silent drama film, directed by George Albert Smith, which features the director's wife Laura Bayley as Joe, a child street-sweeper who dies of disease on the street in the arms of a policeman.
 The film, which went on release in March 1901, takes its name from a famous photograph posed by Oscar Rejlander after an episode in Charles Dickens' "Bleak House" and is the oldest known surviving film featuring a Dickens character.
 The film was discovered in 2012 by British Film Institute curator Bryony Dixon, after it was believed to have been lost since 1954.
 Until the discovery, the previous oldest known Dickens film was "Scrooge, or, Marley's Ghost", released in November 1901.
Jean-Marc Vallée (born March 9, 1963) film director, screenwriter, and film editor from Québec, Canada.
 After studying film at the Université du Québec à Montréal, Vallée went on to make a number of acclaimed short films, including "Stéréotypes" (1991), "Les Fleurs magiques" (1995), and "Les Mots magiques" (1998).
Spiders on a Web is a 1900 British short silent documentary film, directed by George Albert Smith, featuring a single shot close-up of two spiders trapped in an enclosure (not on a web as indicated in the title).
 The film is, according to Michael Brooke of BFI Screenonline, "less formally ambitious," than the director's, "groundbreaking multiple close-up study "Grandma's Reading Glass (1900)," made the same year, but is nonetheless, "one of the earliest British examples of close-up natural history photography, predating Percy Smith's insect studies by a decade."
Let Me Dream Again is a 1900 British short silent drama film, directed by George Albert Smith, featuring a man dreaming about an attractive young woman and then waking up next to his wife.
 The film stars Smith's real wife, Laura Bayley, as the woman of his fantasies.
 Bayley would later appear in Smith's 1906 film 'Mary Jane's Mishap.'
 The film, according to Michael Brooke of BFI Screenonline, "is an excellent example of an early two-shot film, and is particularly interesting for the way it attempts a primitive dissolve by letting the first shot slip out of focus before cutting to the second shot, which starts off out of focus and gradually sharpens."
 Of further interest is the camera composition of the husband and wife in bed.
 The bed is placed against a wall and in front of a camera that is fixed to the floor, giving the appearance of two people lying in bed, when in reality they are standing.
 The film was shot in Smith's own studio, the former pump house at St Ann's Well Gardens in Hove.
 The film was remade by Ferdinand Zecca for Pathé as "Dream and Reality" (1901).
George Albert Smith Sr. (April 4, 1870 – April 4, 1951) was an American religious leader who served as the eighth president of The Church of Jesus Christ of Latter-day Saints (LDS Church).
The George Albert Smith Fieldhouse is a 5,000 seat multi-purpose arena in Provo, Utah.
 Built in 1951, it is the home of the Brigham Young University Cougars volleyball teams and most home gymnastics meets.
 It was named for George Albert Smith, the eighth president of The Church of Jesus Christ of Latter-day Saints, who died the year the fieldhouse opened.
 Prior to the Marriott Center opening in 1971 it was home to the basketball teams.
 At that time, the arena held 10,500 people.
 Smith Fieldhouse also has a track and several offices used by BYU's athletic department.
George Albert Smith (June 26, 1817 – September 1, 1875) (known throughout his life as George A. Smith) was an early leader in the Latter-day Saint movement.
 He served in the Quorum of the Twelve Apostles and as a member of the First Presidency of The Church of Jesus Christ of Latter-day Saints (LDS Church).
As Seen Through a Telescope (AKA: "The Professor and His Field Glass") is a 1900 British short silent comedy film, directed by George Albert Smith, featuring an elderly gentleman getting a glimpse of a woman's ankle through a telescope.
 The three-shot comedy, according to Michael Brooke of BFI Screenonline, "uses a similar technique to that which G.A. Smith pioneered in "Grandma's Reading Glass" (1900)," and although, "the editing is unsophisticated, the film does at least show a very early example of how to make use of point-of-view close-ups in the context of a coherent narrative (which is this film's main advance on Grandma's Reading Glass)."
 "Smith's experiments with editing," Brooke concludes, "were ahead of most contemporary film-makers, and in retrospect it can clearly be seen that he was laying the foundations of film grammar as we now understand it."