{
  "document_id": "lb_2wikimqa_13c4f5388b670f6c20b168e782f7478616fa3ba2edca3081",
  "family": "public_2wikimqa",
  "split": "dev",
  "text": "Passage 1:\nRobert Hartford-Davis\nRobert Hartford-Davis (born William Henry Davis, 23 July 1923 – 12 June 1977) was a British born producer, director and writer, who worked on film and television in both in the United Kingdom and United States.  He is also sometimes credited as Michael Burrowes or Robert Hartford.\n\nBiography\nHartford-Davis was born in Ramsgate, Kent in 1923 as William Henry Davis; he changed his name on becoming a television director in 1955. His television career encompassed drama, comedy and entertainment shows. Bob, as he liked to be called, started his career as an electrician in a South London film studio, where he went on to develop his skills as a cameraman. During the fifties he made a number of short films. These were innovative with the choice of cast and script content. In the late fifties he became an agent and worked for Roy Rogers, amongst others (in England).\nHis talents included co-writing many scripts for 'exploitation' movies and he used media events and people to forward his career. The Yellow Teddy Bears is a prime example of his vivid imagination, using an article in a national newspaper as fodder.\nRobert dealt with the downturn of the film industry in the UK by investing his own money in two movies, The Fiend and Nobody Ordered Love.\n\nPersonal life\nHartford-Davis married Betty Hale in 1943 and there were three children from this marriage;  Jean, Marian and Penelope were born in the next ten years. His wife also co-wrote I'm Not Bothered and an innovative play on the trial of Christ, We the Guilty. Robert and Betty were divorced in 1957. Robert went on to marry three or four more times. There was also another son, Scott Hartford-Davis, born in the late fifties.\nRobert died on 12 June 1977 from a massive stroke.\n\nFilmography\n1956: I'm Not Bothered (TV series)\n1960: Police Surgeon (TV series)\n1962: Crosstrap\n1963: That Kind of Girl\n1963: The Yellow Teddy Bears\n1964: The Black Torment\n1964: Saturday Night Out\n1965: Gonks Go Beat\n1966: The Sandwich Man\n1968: Corruption\n1969: The Smashing Bird I Used to Know (a.k.a. School for Unclaimed Girls)\n1971: Nobody Ordered Love\n1971: Incense for the Damned\n1972: The Fiend\n1972: Black Gunn\n1974: The Take\n1977: Dog and Cat (TV series)\n\nExternal links\nRobert Hartford-Davis at IMDb\nRobert Hartford-Davis at Hollywood.com\nPassage 2:\nLogan Sandler\nLogan Sandler is an American writer and director who is best known for his first feature film Live Cargo.\n\nEarly life and education\nSandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B.A. in Film Production, and three years later, while earning an M.F.A. from AFI in Film Directing, he developed his first feature film, Live Cargo. He developed the script with the late Seth Winston and co-writer Thymaya Payne. In 2015, Sandler was awarded the Institute's Franklin J. Schaffner Fellow Award for his short film, Tracks.\n\nCareer\nSandler's senior thesis, All It Will Ever Be premiered at the Bermuda International Film Festival in 2012. Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival. The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival.Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016. The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom. In addition to the 2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST.Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single Gas. The music video premiered on Vice’s music channel Noisey.IONCINEMA.com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema. When asked about his favorite films of his formative years Sandler said, \"I fell in love with Jean Luc Godard’s Contempt and Weekend. I was blown away by Agnes Varda’s Cleo from 5 to 7. Michelangelo Antonioni’s films really struck a chord with me as well. After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find. The Passenger’s penultimate shot blew me away. I watched that 7 minute shot over and over. It’s probably my favorite shot in the history of cinema.\"\n\nCritical reception\nAngelica Jade Bastien for Roger Ebert wrote of the film, \"In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions.\"Chuck Wilson for The Village Voice wrote, \"The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach.” Wilson as well called Sandler \"a filmmaker to watch.\"Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft.”  Walsh gave the film an A - grade.Stephen Saito for The Moveable Fest in his review and interview wrote, \"While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey.”H. Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come.”Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects.”\n\nAwards/Nominations\nPassage 3:\nBen Palmer\nBen Palmer (born 1976) is a British film and television director.\nHis television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).\n\nBiography\nPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.\n\nFilmography\nBo' Selecta! (2002–06)\nComedy Lab (2004–2010)\nBo! in the USA (2006)\nThe Inbetweeners (2009–2010)\nThe Inbetweeners Movie (2011)\nComedy Showcase (2012)\nMilton Jones's House of Rooms (2012)\nThem from That Thing (2012)\nBad Sugar (2012)\nChickens (2013)\nLondon Irish (2013)\nMan Up (2015)\nSunTrap (2015)\nBBC Comedy Feeds (2016)\nNigel Farage Gets His Life Back (2016)\nBack (2017)\nComedy Playhouse (2017)\nUrban Myths (2017–19)\nClick & Collect (2018)\nSemi-Detached (2019)\nBreeders (2020)\nPassage 4:\nScotty Fox\nScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.\n\nAwards\n1992 AVN Award – Best Director, Video (The Cockateer)\n1995 AVN Hall of Fame inductee\nPassage 5:\nDan Milne\nDan Milne is a British actor/director who is possibly best known for his role in EastEnders.\n\nCareer\nHe started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty. He then appeared in EastEnders as David Collins, Jane Beale's dying husband.\nAs a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally, culminating in a Broadway run at the New Victory Theater. Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various cities across the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat.\nPassage 6:\nSeason of Strangers\nSeason of Strangers (sometimes referred as haiku film) is 1959 unfinished American 16 mm black and white Avant-garde-experimental short film directed by Maya Deren.\n\nProduction\nThe film began as a part of Deren's workshop which took place in Woodstock, New York, during July 6 to July 25 in 1959. Deren after claimed that the location was important for the structure of the film. Also the lyrical aspect of Japanese Haiku motivated the fim as well.\nPassage 7:\nMarshall Leib\nMarshall Leib (January 26, 1939 – March 15, 2002) was an American singer and one of the original members of The Teddy Bears.  Leib and his high school friend, producer Phil Spector, formed the trio. Leib performed background harmony vocals on the Teddy Bears hit \"To Know Him Is to Love Him\", which became the number one song in the United States in 1958. It had since been covered by numerous artists such as Dolly Parton and Amy Winehouse.\n\nBiography\nLeib was involved with the movie \"Ode to Billie Joe\" which featured the hit \"Ode To Billie Joe\" by Bobbie Gentry. He also worked with Herb Alpert, Jerry Moss, The We Five, Chris Montez and Ralph Williams/The Marauders during their early years at A&M Records.In 1966, Leib was hired by Randy Wood to produce the album \"Songs of Protest and Anti-Protest\" by \"Chris Lucey\" (who was in actuality Bobby Jameson) for Surrey Records.In 1967, Leib produced a twelve song L.P. for a group called The Brownstones that featured top session drummer Sandy Konikoff along with vocalist Aaron Brownstone, guitarist Dick Douglas and bassist Tom Hankins. He was attempting to create a \"supergroup\", but the vocalist was killed in a motorcycle accident and Konikoff went on to play with Taj Mahal and others. Collectors are looking for a copy of this Leib-produced missing LP, but it is believed that ABC Records destroyed all copies.Leib later became involved with the L.A. Street Scene, a yearly festival held in the streets of downtown L.A. that was the precursor to the modern super festival.Leib collected Ferrari automobiles and belonged to a Ferrari club.  He was also a classic (antique) automobile aficionado.  In the 1990s, Leib produced an album of female vocal Christmas songs.  Leib married, divorced, and later suffered a fatal heart attack.  He is survived by two biological sons (Jason Leib and Lucas Leib) and one adopted son, Jason Lawrence.\nPassage 8:\nMaya Deren\nMaya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́ра Деренко́вська; May 12 [O.S. April 29] 1917 – October 13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer.\nThe function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual, black-and-white short films. Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims.Meshes of the Afternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinema history. Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman.\n\nEarly life\nDeren was born May 12 [O.S. April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, to psychologist Solomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse.In 1922, the family fled the Ukrainian SSR because of antisemitic pogroms perpetrated by the White Volunteer Army and moved to Syracuse, New York. Her father shortened the family name from Derenkovskaya to \"Deren\" shortly after they arrived in New York. He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse. Deren's mother was a musician and dancer who had studied these arts in Kyiv. In 1928, Deren's parents became naturalized citizens of the United States.Deren was highly intelligent, starting fifth grade at only eight years old. She attended the League of Nations International School of Geneva, Switzerland for high school from 1930 to 1933. Her mother moved to Paris, France to be nearer to her while she studied. Deren learned to speak French while she was abroad.Deren enrolled at Syracuse University at sixteen, where she began studying journalism and political science. Deren became a highly active socialist activist during the Trotskyist movement in her late teens. She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University. \nAt age eighteen in June 1935, she married Gregory Bardacke, a socialist activist whom she met through the Social Problems Club. After his graduation in 1935, she moved to New York City. She finished school at New York University with a Bachelor's degree in literature in June 1936, and returned to Syracuse that fall. She and Bardacke became active in various socialist causes in New York City; and it was during this time that they separated and eventually divorced three years later.In 1938, Deren attended the New School for Social Research, and received a master's degree in English literature at Smith College. Her Master's thesis was titled The Influence of the French Symbolist School on Anglo-American Poetry (1939). This included works of Pound, Eliot, and the Imagists. By the age of 21, Deren had earned two degrees in literature.\n\nEarly career\nAfter graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European émigré art scene. She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers. During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook. She wrote poetry and short fiction, tried her hand at writing a commercial novel, and also translated a work by Victor Serge which was never published. She became known for her European-style handmade clothes, wild red curly hair and fierce convictions.In 1940, Deren moved to Los Angeles to focus on her poetry and freelance photography. In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; she later became Dunham's assistant and publicist. Deren travelled with the troupe for a year, learning greater appreciation for dance, as well as interest and appreciation for Haitian culture. Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology. At the end of touring a new musical Cabin in the Sky, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood. It was there that Deren met Alexandr Hackenschmied (who later changed his name to Alexander Hammid), a celebrated Czech-born photographer and cameraman who would become Deren's second husband in 1942. Hackenschmied had fled from Czechoslovakia in 1938 after the Sudetenland crisis. \nDeren and Hammid lived together in Laurel Canyon, where he helped her with her still photography which focused on local fruit pickers in Los Angeles. Of two still photography magazine assignments of 1943 to depict artists active in New York City,  including Ossip Zadkine, her photographs appeared in the Vogue magazine article. The other article intended for Mademoiselle magazine was not published, but three signed enlargements of photographs intended for this article, all depicting Deren's friend New York ceramist Carol Janeway, are preserved in the MoMA and the Philadelphia Museum of Art. All prints were from Janeway's estate.\n\nPersonal life\nIn 1943, she moved to a bungalow on Kings Road in Hollywood and adopted the name Maya, a pet name her second husband Hammid coined. Maya is the name of the mother of the historical Buddha as well as the dharmic concept of the illusory nature of reality. In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields.\nIn 1944, back in New York City, her social circle included Marcel Duchamp, André Breton, John Cage, and Anaïs Nin.In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film.\nIn the December 1946 issue of Esquire magazine, a caption for her photograph teased that she \"experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic.\" Her third husband, Teiji Itō, said: \"Maya was always a Russian. In Haiti she was a Russian. She was always dressed up, talking, speaking many languages and being a Russian.\"\n\nFilm career\nDeren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring.As Sarah Keller states, “Maya Deren lays claim to the honor of being one of the most important pioneers of the American film avant-garde with a scant seventy-five or so minutes of finished films to her credit.”Deren began to screen and distribute her films in the United States, Canada, and Cuba, lecturing and writing on avant-garde film theory, and additionally on Vodou. In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showed Meshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945). The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society of the 1950s.In 1946, she was awarded a Guggenheim Fellowship for \"Creative Work in the Field of Motion Pictures\", and in 1947, won the Grand Prix International for avant-garde film at the Cannes Film Festival for Meshes of the Afternoon. She then created a scholarship for experimental filmmakers, the Creative Film Foundation.Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night.\nDeren's background and interest in dance appears in her work, most notably in the short film A Study in Choreography for Camera (1945). This combination of dance and film has often been referred to as \"choreocinema\", a term first coined by American dance critic John Martin.In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon. This is thought to be inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states. She also regularly explored themes of gender identity,  incorporating elements of introspection and mythology. Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time, though Mulvey later would give Deren this recognition, since their works were often in conversation with each other.\n\nMajor films\nMeshes of the Afternoon (1943)\nIn 1943, Deren purchased a used 16mm Bolex camera with some of the inheritance money after her father's death from a heart attack. This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250. Meshes of the Afternoon is recognized as a seminal American avant-garde film. It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about woman as subject rather than as object. Originally a silent film with no dialogue, music for the film was composed, long after its initial screenings, by Deren's third husband Teiji Itō in 1952. The film can be described as an expressionistic \"trance film\", full of dramatic angles and innovative editing. It investigates the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations. A woman, played by Maya Deren, walks up to a house in Los Angeles, falls asleep and seems to have a dream. The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house. Movement from the wind, shadows and the music sustain the heartbeat of the dream. Recurring symbols include a cloaked figure, mirrors, a key, and a knife.\nThe loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities. The camera initially does not show her face, which precludes identification with a particular woman, which creates a universalizing, totalizing effect- as it is easier to relate to an unknown, faceless woman. Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs. This kind of Freudian interpretation, which she disagreed with, led Deren to add sound, composed by Teiji Itō, to the film. \nAnother interpretation is that each film is an example of a \"personal film\". Her first film, Meshes of the Afternoon, explores a woman's subjectivity and relation to the external world. Georges Sadoul said Deren may have been \"the most important figure in the post-war development of the personal, independent film in the U.S.A.\" In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum \"the personal is political\" is foregrounded. As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the \"other\", through doubling, multiplication and merging of the woman in the film. Following a dreamlike quest with allegorical complexity, Meshes of the Afternoon has an enigmatic structure and a loose affinity with both film noir and domestic melodrama. The film is famous for how it resonated with Deren's own life and anxieties. According to a review in The Moving Image, \"this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory. The first of these trajectories is Deren's interest in socialism during her youth and university years\".\n\nDirector's notes\nThere is no concrete information about the conception of Meshes of the Afternoon beyond that Deren offered the poetic ideas and Hammid was able to turn them into visuals, as she envisioned them. Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces. According to the earliest program note, she describes Meshes of the Afternoon as follows:\n\nThis film is concerned with the interior experiences of an individual. It does not record an event which could be witnessed by other persons. Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience.\n\nAt Land (1944)\nDeren filmed At Land in Port Jefferson and Amagansett, New York in the summer of 1944. Taking on more of an environmental psychologist's perspective, Deren \"externalizes the hidden dynamic of the external world...as if I had moved from a concern with the life of the fish, to a concern with the sea which accounts for the character of the fish and its life.\" Maya Deren washes up on the shore of the beach, and climbs up a piece of driftwood that leads to a room lit by chandeliers, and one long table filled with men and women smoking. She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff. She shrinks in the wide frame as she walks farther away from the camera, up and down sand dunes, then frantically collecting rocks back on the shore. Her expression seems confused when she sees two women playing chess in the sand. She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or \"doppelganger\", where her earlier self sees her other self running through the scene. Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments. This is one of Deren's films in which the focus is on the character's exploration of her own subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films.\n\nA Study in Choreography for Camera (1945)\nIn the spring of 1945 she made A Study in Choreography for Camera, which Deren said was \"an effort to isolate and celebrate the principle of the power of movement.\" The compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film. Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word \"geography\" as the movement of the dancer transcends and manipulates the ideas of both time and space. \"For Deren, no transition is needed between a place outside (such as a forest, or a park, or the beach) and an interior room. One action can be performed across different physical spaces, as in A Study in Choreography For Camera (1945), and in this way sews together layers of reality, thereby suggesting continuity between different levels of consciousness.\"At just under 3 minutes long, A Study in Choreography for Camera is a fragment depicting a carefully constructed exploration of a man who dances in a forest, and then seems to teleport to the inside of a house because of how continuous his movements are from one place to the next. The edit is broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted. The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space. It shows a progression from nature to the confines of society, and back to nature. The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world. Deren and Beatty met through Katherine Dunham, while Deren was her assistant and Beatty was a dancer in her company. It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence. The film is also subtitled 'Pas de Deux', a dance term referring to a dance between two people, or in this case, a collaboration between Deren and Beatty.A Study in Choreography for Camera was one of the first experimental dance films to be featured in the New York Times as well as Dance Magazine.\n\nRitual in Transfigured Time (1946)\nBy her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole. Ritual in Transfigured Time began in August and was completed in 1946. It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change. The main roles were played by Deren herself and the dancers Rita Christiani and Frank Westbrook.\n\nMeditation on Violence (1948)\nDeren's Meditation on Violence was made in 1948. Chao-Li Chi's performance obscures the distinction between violence and beauty. It was an attempt to \"abstract the principle of ongoing metamorphosis\", found in Ritual in Transfigured Time, though Deren felt it was not as successful in the clarity of that idea, brought down by its philosophical weight. Halfway through the film, the sequence is rewound, producing a film loop.\n\nCriticism of Hollywood\nThroughout the 1940s and 1950s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema. She stated, \"I make my pictures for what Hollywood spends on lipstick,\" criticizing the amount of money spent on production. She also observed that Hollywood \"has been a major obstacle to the definition and development of motion pictures as a creative fine-art form.\" She set herself in opposition to the Hollywood film industry's standards and practices.\nDeren talks about the freedoms of independent cinema:\n\nArtistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words...to the relentless activity and explanations of a plot...nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes...Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.\n\nHaiti and Voudoun\nWhen Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist. She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film. In September, she divorced Hammid and left for a nine-month stay in Haiti. The Guggenheim Fellowship grant in 1946 enabled Deren to finance her travel and film footage for what would posthumously become  Meditation on Violence. She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou.\nA source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited. While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti. Exposure to these documents led her to write her 1942 essay titled, \"Religious Possession in Dancing.\" Afterwards, Deren wrote several articles on religious possession in dancing before her first trip to Haiti. Deren filmed, recorded and photographed many hours of Vodou ritual, but she also participated in the ceremonies. She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject. She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality. In her book An Anagram of Ideas on Art, Form, and Film she wrote:\n\nThe ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole. The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality. He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning.\nDeren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera. The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji Itō (1935–1982), and his wife Cherel Winett Itō (1947–1999). All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University. The film footage is housed at Anthology Film Archives in New York City.\nAn LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti. The cover art for the album was by Teiji Itō.Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen, and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because \"Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities.\"In her book of the same name Deren uses the spelling Voudoun, explaining: \"Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation. Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words). Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation.\" In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary draws attention to the similar French word, Vaudoux.\n\nDeath\nDeren died in 1961, at the age of 44, from a brain hemorrhage brought on by extreme malnutrition. Her condition may have also been weakened by her long-term dependence on amphetamines and sleeping pills prescribed by Max Jacobson, a doctor and member of the arts scene, notorious for his liberal prescription of drugs, who later became famous as one of President John F. Kennedy's physicians.\nHer ashes were scattered in Japan at Mount Fuji.\n\nLegacy\nDeren was a muse and inspiration to such up-and-coming avant-garde filmmakers as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit. Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich. In his review for renowned experimental filmmaker David Lynch's Inland Empire, writer Jim Emerson compares the work to Meshes of the Afternoon, apparently a favorite of Lynch's.Deren was a key figure in the creation of a New American Cinema, highlighting personal, experimental, underground film. In 1986, the American Film Institute created the Maya Deren Award to honor independent filmmakers.\nThe Legend of Maya Deren, Vol. 1 Part 2 consists of hundreds of documents, interviews, oral histories, letters, and autobiographical memoirs.Works about Deren and her works have been produced in various media:\n\nDeren appears as a character in the long narrative poem The Changing Light at Sandover (1976-1980) by her friend James Merrill.\nIn 1987, Jo Ann Kaplan directed a biographical documentary about Deren, titled Invocation: Maya Deren (65 min)\nIn 1994, the UK-based Horse and Bamboo Theatre created and toured Dance of White Darkness throughout Europe—the story of Deren's visits to Haiti.\nIn 2002, Martina Kudlacek directed a feature-length documentary about Deren, titled In the Mirror of Maya Deren (Im Spiegel der Maya Deren), which featured music by John Zorn.Deren's films have also been shown with newly written alternative soundtracks:\n\nIn 2004, the British rock group Subterraneans produced new soundtracks for six of Deren's short films as part of a commission from Queen's University Belfast's annual film festival. At Land won the festival prize for sound design.\nIn 2008, the Portuguese rock group Mão Morta produced new soundtracks for four of Deren's short films as part of a commission from Curtas Vila do Conde's annual film festival.\n\nAwards and honors\nGuggenheim Fellowship 1946\nGrand Prix Internationale for Amateur Film\nCreative Work in Motion Pictures (1947)\nCannes Film Festival (1947)\n\nFilmography\nDiscography\nVinyl LPs\nWritten works\nDeren was also an important film theorist. \n\nHer most widely read essay on film theory is probably An Anagram of Ideas on Art, Form and Film, Deren's seminal treatise that laid the groundwork for many of her ideas on film as an art form (Yonkers, NY: Alicat Book Shop Press, 1946).\nHer collected essays were published in 2005 and arranged in three sections:Film Poetics, including: Amateur versus Professional, Cinema as an Art Form, An Anagram of Ideas on Art, Form and Film, Cinematography: The Creative Use of Reality\nFilm Production, including: Creating Movies with a New Dimension: Time, Creative Cutting, Planning by Eye, Adventures in Creative Film-Making\nFilm in Medias Res, including: A Letter, Magic is New, New Directions in Film Art, Choreography for the Camera, Ritual in Transfigured Time, Meditation on Violence, The Very Eye of Night.Divine Horsemen: Living Gods of Haiti was published in 1953 by Vanguard Press (New York City) and Thames & Hudson (London), republished under the title of The Voodoo Gods by Paladin in 1975, and again under its original title by McPherson & Company in 1998.\n\nSee also\nList of Guggenheim Fellowships awarded in 1946\nWomen's cinema\nPassage 9:\nThe Yellow Teddy Bears\nThe Yellow Teddy Bears (US: Gutter Girls and The Thrill Seekers) is a 1963 British drama film directed by Robert Hartford-Davis and starring Jacqueline Ellis, Iain Gregory, Raymond Huntley and Georgina Patterson.\n\nPremise\nThe pupils at a girls' school deal with adult issues such as teen pregnancy.\n\nCast\nJacqueline Ellis - Anne Mason\nIain Gregory - Kinky\nGeorgina Patterson - Pat\nJohn Bonney - Paul\nAnnette Whiteley - Linda\nDouglas Sheldon - Mike Griffin\nVictor Brooks - George Donaghue\nAnne Kettle - Sally\nLesley Dudley as Joan\nJill Adams - June Wilson\nJohn Glyn-Jones - Benny Wintle\nRaymond Huntley - Harry Halburton\nHarriette Johns - Lady Gregg\nNoel Dyson - Muriel Donaghue\nRichard Bebb - Frank Lang\nAnn Castle - Eileen Lang\nMicheline Patton - Mrs. Broome\nIrene Richardson - extra\nPassage 10:\nElliot Silverstein\nElliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).\n\nCareer\nElliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.\nThe other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.\nOther work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.\nWhile Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.\n\nAwards\nIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.\nHe was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).\nIn 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.\nIn 1990, he was awarded the DGA Honorary Life Member Award.\n\nPersonal life\nSilverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.\nHe currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.\n\nFilmography\nTales from the Crypt (TV Series) (1991–94)\nPicket Fences (TV Series) (1993)\nRich Men, Single Women (TV Movie) (1990)\nFight for Life (TV Movie) (1987)\nNight of Courage (TV Movie) (1987)\nBetrayed by Innocence (TV Movie) (1986)\nThe Firm (TV Series) (1982–1983)\nThe Car (1977)\nNightmare Honeymoon (1974)\nA Man Called Horse (1970)\nThe Happening (1967)\nCat Ballou (1965)\nKraft Suspense Theatre (TV Series) (1963–64)\nThe Defenders (TV Series) (1962–64)\nArrest and Trial (TV Series) (1964)\nThe Doctors and the Nurses (TV Series) (1962–64)\nTwilight Zone (TV Series) (1961–64)\nBreaking Point (TV Series) (1963)\nDr. Kildare (TV Series) (1961–63)\nThe Dick Powell Theatre (TV Series) (1962)\nBelle Sommers (TV Movie) (1962)\nNaked City (TV Series) (1961–62)\nHave Gun - Will Travel (TV Series) (1961)\nRoute 66 (TV Series) (1960–61)\nCheckmate (TV Series) (1961)\nThe Westerner (TV Series) (1960)\nAssignment: Underwater (TV Series) (1960)\nBlack Saddle (TV Series) (1960)\nSuspicion (TV Series) (1958)\nOmnibus (TV Series) (1954–56)",
  "char_len": 43019,
  "document_hash": "a16e90de92908c938aedab4cd9c9b078947e6461e047afb6c03a233e3b754d01",
  "questions": [
    {
      "question_id": "q00",
      "qtype": "2wikimqa",
      "question": "Which film has the director who is older than the other, Season Of Strangers or The Yellow Teddy Bears? "
    }
  ]
}