Question: Which film has the director who died later, The House Behind The Cedars or First Case, Second Case?

<P0-S0> Oscar Devereaux Micheaux( January 2, 1884 – March 25, 1951) was an African- American author, film director and independent producer of more than 44 films. <P0-S1> Although the short- lived Lincoln Motion Picture Company was the first movie company owned and controlled by black filmmakers, Micheaux is regarded as the first major African- American feature filmmaker, a prominent producer of race film, and has been described as" the most successful African- American filmmaker of the first half of the 20th century". <P0-S2> He produced both silent films and sound films when the industry changed to incorporate speaking actors. <SEP> <P1-S0> Veiled Aristocrats is a 1932 American Pre-Code race film directed, written, produced and distributed by Oscar Micheaux. <P1-S1> The film deals with the theme of" passing" by mixed- race African Americans to avoid racial discrimination, and is a remake of" The House Behind the Cedars"( 1927), based on a novel by the same name published in 1900 by Charles W. Chesnutt. <SEP> <P2-S0> John St. John Long( 1798 – July 2, 1834) was an Irish- born quack doctor who claimed to be able to cure tuberculosis. <P2-S1> In two instances he was tried for manslaughter of his patients. <P2-S2> In the first case he was found guilty and fined £ 250, and in the second case acquitted. <P2-S3> He died at the age of 35, reportedly from tuberculosis but perhaps merely from a horse- riding accident. <SEP> <P3-S0> The House Behind the Cedars is a 1927 silent race film directed, written, produced and distributed by the noted director Oscar Micheaux. <P3-S1> It was loosely adapted from the 1900 novel of the same name by the African-American writer Charles W. Chesnutt, who explored issues of race, class and identity in the post-Civil War South. <P3-S2> No print of the film is known to exist, and it is considered lost. <P3-S3> Micheaux remade the film in 1932 under the title "Veiled Aristocrats". <P3-S4> The Virginia Censorship Board, an arm of white supremacy, at first banned the film from being shown in the state, saying it would threaten race relations. <P3-S5> In 1924, the state had passed the Racial Integrity Act incorporating the one-drop rule into law for the first time. <P3-S6> It classified as black for state record keeping any person with any known African ancestry, regardless of their self-identification or community. <P3-S7> Although Micheaux made some cuts to get the film distributed, he wrote to the board: "There has been but one picture that incited the colored people to riot and that still does. <P3-S8> [T]hat picture is "Birth of a Nation <SEP> <P4-S0> First Case, Second Case(" Qazieh- e shekl- e avval ... shekl- e dovvom.") is a 1979 Iranian film directed by Abbas Kiarostami. <P4-S1> The film starts with this scenario; A teacher is drawing a diagram of an ear on the chalkboard with his back to the class; he is interrupted several times by the sound of a pen banging rhythmically against a desk. <P4-S2> Each time he turns around, the noise stops, only to resume again. <P4-S3> Finally, unable to pick out the culprit, the teacher tells the seven boys sitting in the corner of the room to leave the class. <P4-S4> The students are given an ultimatum, which becomes the basis of the film. <P4-S5> Kiarostami showed this film to the Shah's educational experts and filmed their opinions in 1979. <P4-S6> Shooting was nearly complete when, on February 1, Ayatollah Khomeini arrived in Tehran from exile and 10 days later declared an Islamic republic. <P4-S7> In 1981 then Kiarostami set about remaking the film, junking the commentaries and changing its structure. <P4-S8> He decided he would make the film into a dramatized dilemma. <P4-S9> First Case involved pupils refusing to name the guilty party, in Second Case one of the pupils names the culprit and is allowed to return to the classroom. <P4-S10> All of the new observers, including the new education minister and members of political parties( Communist, Democratic National Front) were filmed commenting on the two cases. <P4-S11> The film was banned after its premier and disappeared from view for decades until June 2009 when it reappeared and became widely distributed on the web. <SEP> <P5-S0> Abbas Kiarostami( 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer, and film producer. <P5-S1> An active film- maker from 1970, Kiarostami had been involved in the production of over forty films, including shorts and documentaries. <P5-S2> Kiarostami attained critical acclaim for directing the" Koker" trilogy( 1987– 1994)," Close- Up"( 1990)," The Wind Will Carry Us"( 1999), and" Taste of Cherry"( 1997), which was awarded the Palme d' Or at the Cannes Film Festival that year. <P5-S3> In later works," Certified Copy"( 2010) and" Like Someone in Love"( 2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. <P5-S4> His films" Where Is the Friend ’s Home? Close- Up", and" The Wind Will Carry Us" were ranked among the 100 best foreign films in a 2018 critics' poll by BBC Culture. <P5-S5> " Close- Up" was also ranked one of the 50 greatest movies of all time in the famous decennial" Sight& Sound" poll conducted in 2012. <P5-S6> Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. <P5-S7> He was also a poet, photographer, painter, illustrator, and graphic designer. <P5-S8> He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid- Saless and Parviz Kimiavi. <P5-S9> These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues. <P5-S10> Kiarostami had a reputation for using child protagonists, for documentary- style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. <P5-S11> He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. <P5-S12> Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. <P5-S13> The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works.