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  "text": "Passage 1:\nThe Year of The Rabbit\nThe Year of the Rabbit (Spanish: El año del conejo) is a 1987 Argentine comedy drama film directed by Fernando Ayala and written by Oscar Viale. Starring Gerardo Romano, the film had its premiere on August 13, 1987.\n\nSynopsis\nIn his mid-50s, a man reassesses his family and work life.\n\nMain cast\nLuisina Brando\nFederico Luppi\nGerardo Romano\nUlises Dumont\nJuan Carlos Dual\nLudovica Squirru\nKatja Alemán\nAndrea Barbieri\nRaúl Rizzo\nEmilio Vidal\n\nOther cast\nLuis Alday\nMartín Andrade\nOlga Bruno\nAna María Colombo\nAdrián Cuneo\nManuel Cuneo\nCristina Czetto\nSandra Domínguez\nHéctor Ezcurra\nDaniel Galarza\nMaruja Pibernat\nNilda Raggi\nFelisa Rocha\nEnrique Sabattini\nCarlos Santamaría\nCarlos Silva\nAlejandra Sirlin\nJorge Varas\nHebe Castro Zinny\n\nExternal links\nThe Year of the Rabbit at IMDb\nPassage 2:\nAbhishek Saxena\nAbhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.\n\nLife and background\nAbhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.\nSaxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June 2017.\n\nCareer\nAbhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie \"India Gate\".\nIn 2018 Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta.\n Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, \"As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people. The idea germinated from there.\"\nCareer as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.\nIn addition to these serials, he played the role of assistant director in the movie \"Girgit\" which was made in Telugu language.\n\nFilmography\nAs Director\nPassage 3:\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)\nPassage 4:\nFernando Ayala\nFernando Ayala (2 July 1920 – 11 September 1997) was an Argentine film director, screenwriter and film producer of the classic era. He is widely considered one of the most important Argentine film directors and producers in the history of the cinema of Argentina.\nAyala initially began as a trainee assistant director in 1942, in El Viaje, and within two years he had become an assistant director. By 1949 he had obtained his first job as director, and from 1958 he also served as producer for the films he directed and some others. Between 1950 and 1987 he was involved in the direction and production of well over 40 films, such as Ayer fue primavera in 1955 and Argentinísima and Argentinísima II in 1972 and 1973 respectively. In 1963 he was a member of the jury at the 13th Berlin International Film Festival. His 1983 film The Deal was entered into the 13th Moscow International Film Festival where it won a Special Diploma.\n\nFilmography\nDirector\nPassage 5:\nBrian Kennedy (gallery director)\nBrian 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 was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. 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 to 2004.\n\nCareer\nBrian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.\n\nEarly life and career in Ireland\nKennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.\nHe worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.\n\nNational Gallery of Australia (NGA)\nKennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing \"blockbuster\" exhibitions.\nDuring his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new \"front\" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).\nKennedy's cancellation of the \"Sensation exhibition\" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being \"too close to the market\" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was \"Catholic-bashing\" and an \"aggressive, vicious, disgusting attack on religion.\" In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had \"obscured discussion of the artistic merit of the works of art\". He has said that it \"was the toughest decision of my professional life, so far.\"Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.\n\nToledo Museum of Art\nThe Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as \"learning to read, understand and write visual language.\"   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.\nKennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.\n\nHood Museum of Art\nKennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.\n\nPublications\nKennedy has written or edited a number of books on art, including:\n\nAlfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9\nDreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7\nJack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0\nThe Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4\nIreland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3\nIrish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7\nSean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3\nFrank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8\n\nHonors and achievements\nKennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.\n\n\n== Notes ==\nPassage 6:\nDrew Esocoff\nDrew Esocoff (born c. 1957) is an American television sports director, who as of 2006 has been the director of NBC Sunday Night Football.\n\nEarly life\nEsocoff was born in Elizabeth, New Jersey, graduating from Thomas Jefferson High School in 1975, later attending Colgate University. While in college he worked as a substitute teacher at Elizabeth High School where one of his students was Todd Bowles.\n\nCareer\nEsocoff has worked for ESPN and ABC, serving as director for Monday Night Football, SportsCenter, and the NBA Finals, as well as five Super Bowls. Since 2006, he has served as director for NBC Sunday Night Football.\nAs of 2015, Esocoff has won 11 Emmy Awards.\nPassage 7:\nJack Arnold (director)\nJack Arnold (born John Arnold Waks; October 14, 1916 – March 17, 1992) was an American actor and film and television director, best known as one of the leading filmmakers of 1950s science fiction films. His most notable films are It Came from Outer Space (1953), Creature from the Black Lagoon (1954), Tarantula (1955), and The Incredible Shrinking Man (1957).\n\nEarly years\nJack Arnold was born in New Haven, Connecticut, to Russian immigrants.: 53  As a child he read a lot of science fiction, which laid the foundations for his genre films of the 1950s.\nHe hoped to become a professional actor and in his late teens he enrolled in the American Academy of Dramatic Arts, where his classmates included Hume Cronyn, Betty Field and Garson Kanin. After graduating he worked as a vaudeville dancer and, in 1935, began getting roles in Broadway plays. He was acting in My Sister Eileen when the Japanese attacked Pearl Harbor, and he immediately enlisted as a cadet for pilot training.: 53 While Arnold intended to become a pilot, a shortage of planes meant he was temporarily placed in the Signal Corps, where he took a crash course in cinematography. He then became a cameraman and learned the techniques of filmmaking by assisting Robert Flaherty on various military films. After eight months with Flaherty he became a pilot in the Air Corps.: 53  While stationed at Truax Airfield at New Rochelle, New York, he met Betty, who would later become his wife.\n\nCareer\nFollowing the end of World War II and the end of Arnold's term of service, he formed a partnership with an air squadron buddy, Lee Goodman, to form a film production company. Their new company, called Promotional Films Company, made fundraising films for various non-profit organizations. He also continued acting on stage during this period, in plays including a revival of The Front Page, and played opposite Bela Lugosi and Elaine Stritch in Three Indelicate Ladies.: 54 \n\nBy 1950, after his documentary films had received more exposure, he was commissioned to produce and direct With These Hands, a documentary about working conditions of the early 20th century. It was nominated for an Academy Award for Best Documentary Feature.Arnold directed a number of 1950s science fiction films. The best known of these, It Came from Outer Space (1953), Creature from the Black Lagoon (1954), Tarantula (1955), and The Incredible Shrinking Man (1957) are noted for their atmospheric black-and-white cinematography and sophisticated scripts. The Incredible Shrinking Man is considered his \"masterpiece,\" a fantasy film with few equals in intelligence and sophistication, notes author John Baxter. While all the films display a \"sheer virtuosity of style and clarity of vision.\"Arnold's main collaborator at Universal Studios was producer William Alland. Revenge of the Creature (1955) was Clint Eastwood's debut film.\nArnold also made some non-sci-fi films, mostly Westerns.  His best Western is often considered to be No Name on the Bullet (1959), about a town frightened to hysteria by the arrival of a gunman who never reveals who he is after or why.  The film was shot in color and CinemaScope and was later restored from the original negative for airing on the \"Grit\" digital broadcast channel.\nHe also worked as the director of The Mouse That Roared (1959), in which Peter Sellers played three roles, one of them in drag. His later films included Hello Down There (1969), Black Eye (1974), the British sex comedy The Bunny Caper aka Sex Play (1974), Boss Nigger (1975) and The Swiss Conspiracy (1976).\nArnold began his television career in 1955 with several episodes of Science Fiction Theater. He went on to direct the long-running television series Perry Mason and Peter Gunn. He also directed episodes of such television shows as Nanny and the Professor, Alias Smith and Jones, The Fall Guy, The Brady Bunch, Gilligan's Island, Wonder Woman, Ellery Queen, Mr. Terrific, Mr. Lucky, and The San Pedro Beach Bums, as well as the TV movie Marilyn: The Untold Story (1980).\n\nDeath and legacy\nArnold died of arteriosclerosis in Woodland Hills, Los Angeles, California at the age of 75. Later that year, the UCLA Film Archive held a tribute \"Jack Arnold: The Incredible Thinking Man\" film festival which screened a number of his films. The Archive also produced and screened a bio-documentary about his life, The Incredible Thinking Man.\n\nAwards and nominations\nPassage 8:\nMonster on the Campus\nMonster on the Campus (a.k.a. Monster in the Night and Stranger on the Campus) is a 1958 American black-and-white science fiction/horror film from Universal-International, produced by Joseph Gershenson, directed by Jack Arnold, from a script by David Duncan, that stars Arthur Franz, Joanna Cook Moore, Nancy Walters, Troy Donahue, and Whit Bissell. The film was theatrically released as a double feature with the British horror film Blood of the Vampire.\nThe film's storyline tells of a university science professor who accidentally comes into contact with the irradiated blood of a coelacanth, which causes him to \"regress\" to being a primitive caveman.\n\nPlot\nDr. Donald Blake, a science professor at Dunsford University, receives a coelacanth. A student, Jimmy, asks Blake if the fish is really a million years old. Blake replies, \"It's the species that's old. No change in millions of years. See, the coelacanth is a living fossil, immune to the forces of evolution\". Blake teaches his students that man is the only creature that can decide whether to evolve or devolve and that \"unless we learn to control the instincts we've inherited from our ape-like ancestors, the race is doomed.\"\nInside the lab, Blake scratches himself on the teeth of the partially-thawed coelacanth, accidentally sticking his bloody hand into the water-filled container which held the fish. Molly Riordan, the assistant to Dr. Cole Oliver, is with Blake and offers him a ride home. Blake says he does not feel well and passes out when they get to Molly's car.\nA person or persons unknown attacks Molly at Blake's home. Madeline Howard, Blake's fiancée and daughter of Dr. Gilbert Howard, president of the university, arrives and finds the home in shambles and Blake moaning on the ground. Madeline calls the police after seeing the corpse of Molly hanging by her hair in a tree.\nDetective Lt. Mike Stevens and Detective Sgt. Eddie Daniels find a \"deformed\" handprint on a window and Blake's tie clasp in Molly's dead hand. They take Blake downtown when he admits that he cannot remember anything after getting into Molly's car.\nConcluding that someone holding a grudge is trying to implicate Blake in Molly's murder, Stevens releases him. He assigns Daniels as Blake's bodyguard and tells Blake that Molly's autopsy showed she died of fright.\nIn his lab, Blake shoos away a dragonfly that lands on the coelacanth. The dragonfly later returns, now two feet in length. Blake and Jimmy try to catch the giant insect with a net when it lands on the coelacanth again. Blake stabs the dragonfly. While examining its body, he does not notice its blood has dripped into his pipe. Lighting up and smoking, he immediately feels ill. As the dragonfly shrinks back to its standard size, a large, hairy hand reaches out and squashes the insect. Then Blake's lab is trashed, and Jimmy's visiting girlfriend is killed. The police find huge footprints near her body and conclude they are from the same source.\nBlake learns that the coelacanth has blood plasma preserved by gamma rays. If it gets into the bloodstream of an animal or person, it causes them to revert to a more primitive state temporarily. He realizes that he might have received a dose of the irradiated plasma. If so, then Blake has been reverting to a troglodyte with large hands, feet, dark skin, heavy body hair, and prominent brow ridges.\nHe decides to take some days off at Dr. Howard's remote cabin. Blake plans to learn whether he is the beast. He rigs the cabin with cameras on trip wires and injects himself with coelacanth plasma. His caveman self wrecks the room, trips the camera's wires, and is photographed. He grabs an axe and leaves.\nWhile driving to the cabin, Madeline runs off the road and crashes when the caveman appears in her headlights. A local forest ranger arrives and calls the Dunsford police for help. The caveman carries the unconscious Madeline into the forest, with the ranger in pursuit.\nWaking up, Madeline struggles with the beast. The ranger shoots the caveman when she breaks free. The caveman then kills the ranger with his axe and collapses. Blake, once again himself, returns to the cabin and develops a photo, showing it to Madeline.\nLt. Stevens, Detective Sgt. Powell and Dr. Howard arrive at the cabin. Blake tells them that he not only knows who the murderer is, but where to find him. Out in the woods, he explains to Howard what his experiment proved and injects himself with coelacanth plasma. Again transformed into the caveman, he chases Howard, forcing the two detectives to shoot him. As the beast lies dying, he slowly transforms back into Blake.\n\nCast\nArthur Franz as Dr. Donald Blake\nJoanna Moore as Madeline Howard\nJudson Pratt as Lt. Mike Stevens\nNancy Walters as Sylvia Lockwood\nTroy Donahue as Jimmy Flanders\nPhil Harvey as Sgt. Powell\nHelen Westcott as Nurse Molly Riordan\nAlexander Lockwood as Dr. Gilbert Howard\nWhit Bissell as Dr. Oliver Cole\nRoss Elliott as Sgt. Eddie Daniels\nAnne Anderson as Student (uncredited)\nLouis Cavalier as Student (uncredited)\nRichard H. Cutting as Forest Ranger Tom Edwards (uncredited)\nHank Patterson as Night Watchman Mr. Townsend (uncredited)\nRonnie Rondell Jr. as Student (uncredited)\nEddie Parker as the Monster (uncredited)\n\nProduction\nProduction took place between April and May 1958. The on-campus scenes of Dunsford University were filmed at Occidental College in Eagle Rock, a suburb of Los Angeles, California.The working title of the film was Monster in the Night. Although Universal music director Joseph Gershenson had received executive producer credit on some films of the 1940s, Monster on the Campus marked the first film for which he received sole credit as producer. This was the film debut of Nancy Walters. Arthur Franz only played Prof. Donald Blake. Once the makeup transformation scenes were over, stuntman Eddie Parker did every scene as the monster.Science fiction film critic Bill Warren writes that director Jack Arnold said in an interview with Cinefastastique magazine (Vol.4 No.2, 1975) that the film was shot in 12 days, and that Arnold told Photon magazine (No.26, 1975), \"I didn't really hate it, but I didn't think it was up to the standards of the other films that I have done\".\n\nReception\nMonster on the Campus had a wide international release. Its U.S. premiere was in Bismarck, North Dakota on 17 December 1958, followed by Finland on 1 May 1959, West Germany on 22 January 1960, France on 27 January 1960, and Mexico on 3 March 1960. The film was also released in the UK, Belgium, Greece, Italy, the Soviet Union, Argentina, and Brazil. In the UK, it was given an \"X\" certificate by the British Board of Film Censors (BBFC), which meant at the time that the film could not be exhibited to people under age 16. In 2016, BBFC reclassified the DVD of Monster on the Campus. It now has a PG rating.According to Warren, there were few reviews of Monster on the Campus when it first came out because it was the \"bottom half of a double-bill with the more colorful Blood of the Vampire\". He quotes a few contemporary reviews. It was called \"'a pretty fair shocker'\" in Daily Variety. Jack Moffitt, in The Hollywood Reporter, said the film emphasized the \"'human rather than the monstrous side of this modern 'Dr. Jekyll' story\". The Monthly Film Reporter, however, called it \"'depressing,'\" even though it had been \"'tailored for the horror market.'\"BoxOffice magazine in its issue of 19 January 1959 showed positive reviews from most of the publications listed in its \"Review Digest\". BoxOffice, Film Daily, and The Hollywood Reporter all rated it as \"very good\"; Harrison's Report and Variety rated it \"good\"; Parents' Magazine gave it a \"fair\" rating; and the New York Daily News had not reviewed the film.The reviewing division of the Catholic News Service evaluated Monster on the Campus in 1958 for its \"artistic merit and moral suitability\". This resulted in The United States Conference of Catholic Bishops (USCCB) giving the film a rating of \"A-III,\" which meant it was suitable for adults, although USCCB cautioned that it contained \"stylized violence with some intense menace\".Many of the more recent reviews have centered on the monster/caveman/ape-man makeup. Warren writes, \"The mask is unconvincing, with tiny shell-like teeth and a built-in scowl; it resembles similar Universal-International over-the-head masks of the period, as seen in Abbott and Costello Meet Dr. Jekyll and Mr. Hyde, Tarantula and other outings\". Bryan Senn notes that keeping the monster off-camera until near the end of the film is a good idea, as it adds a \"bit of build-up and mystery\", but doing so \"only makes the rubbery mask and hirsute padded shoulders (making him look like a simian linebacker) that much more disappointing when finally revealed\".But reviews have noted more than just makeup. Phil Hardy writes that \"cinematographer [Russel] Metty and special effects man [Clifford] Stine make the most of the ape-man's path of destruction through the campus but the script lacks any sparkle\". Senn calls the film \"visually flat, with the 'action' taking place in labs, offices and cabins, and with exteriors consisting of one back-lot hillside\". And Warren says that the film is \"hampered by trivial locations and drab sets. The film has no arresting images. The best [Arnold] can come up with is a swift glance the ape-man gives a mirror before smashing it and one shot of a woman dangling by her hair from a tree\". In summary, he calls the film \"routine, unimaginative and foolish ... Jack Arnold's worst science fiction film\".But not every reviewer disliked Monster on the Campus. Critic Ken Hanke wrote that \"part of the charm of this little movie is that the monster is so hokey. No, it's not classic horror, but it's a good bit of fun\". He gave the film a score of 4.5 out of 5 stars.Popularity with the public is harder to judge. The film holds a 5.8/10 from 1,111 votes on the Internet Movie Database and a low 22% from 270 viewers at the film review aggregator website Rotten Tomatoes.\n\nAcademic interest\nMonster on the Campus has attracted a fair amount of academic interest. Prof. Cyndy Hendershot in 2001 wrote that the film examines \"issues of conformity and individuality\" through a \"metaphor of monstrous transformation\". Hendershot says that while Blake the professor represents conformity, his caveman self is a representation of individuality. But he cannot be conformist and individualistic at the same time. His employer, Dunsfield University, \"conspires to stamp out individuality that does not follow the direction of the organization as a whole\". That is, \"while Monster on the Campus adopts the typical sf/horror plot of the mad scientist versus the blind authorities\", the film \"frames the issue specifically within the world of the organization man\". According to Hendershot, a man such as Blake - driven from within toward individualism and not at all a good organization man who willingly submits to conformity imposed on him from the outside - cannot win. His personal goal of knowledge for the sake of knowledge is not that of the university, which seems more interested in the publicity that owning a rare coelacanth will bring. \"But, if the film condemns the other-directed society as stifling scientific knowledge, it equally condemns Blake's rampant inner-directed man. It reveals, in fact, that the individual within is a beast\".Also in 2001, Hendershot looked at Monster on the Campus as an exploration of a \"wide variety of issues related to the emergence of teen culture in Fifties America\". Specifically, her focus is on juvenile deliquency, which she says \"provoked feelings of intense horror\" in adults at the time. The Dunsfield Police, for example, \"suspect the teenagers on campus of being guilty\" of the murders of Molly and Daniels, yet the \"true criminal is located at the heart of adult authority on campus\". However, unlike many films in which young people are the villains, Monster on the Campus inverts things, so that \"only the students emerge as having any clear moral sense about the horrors that are occurring on campus\". In other words, \"the kids in Monster on the Campus are fine; it's the adults that have to be watched, as they may transform into monsters at any moment\".Prof. Patrick Gonder looks at the film in racial terms. He writes that Monster on the Campus was released just a few years after the 1954 US Supreme Court decision in Brown v. Board of Education. In that light, he says, \"the monster on the campus is the demonized black male student, threatening to contaminate the purity of white women and cause the reversal of white evolutionary potential. The Caveman is imaged as a racist caricature of the African American: bestial, violent and corrosive to the tenets of white society\". However, Gonder goes on to point out that the \"creature and the professor are one and the same: several times, Blake comments on how the beast is 'within' him\". And at the end of the film Blake solves his problem: he \"does not turn himself in but instead organizes his own lynch mob by purposefully (for the first time) transforming himself into the Caveman, thus forcing the police officers to shoot him\".\n\nHome media\nMonster on the Campus had its U.S. VHS release in 1994. Universal Pictures released Monster on the Campus as part of a DVD boxed set called The Classic Sci-Fi Ultimate Collection, which features four other Universal films: The Incredible Shrinking Man, The Mole People, The Monolith Monsters, and Tarantula. Shout Factory released the film on Blu-ray in a package including the trailer and subtitles on 25 June 2019.\n\nPopular culture\nMonster on the Campus has been referenced in a number of other films and television programs. Among other examples, it was shown on Svengoolie in 1981 and 2013; scenes from it were used in the films Eternal Sunshine of the Spotless Mind (2004) and American Grindhouse (2010); and it was mentioned in the Canadian comedy Ding et Dong le film (1990).In music, The Modern Airline, a neo-New Wave band from Brooklyn, New York, released a song titled \"Monster on the Campus\" in 2017.\nPassage 9:\nG. Marthandan\nG. Marthandan is an Indian film director who works in Malayalam cinema. His debut film is Daivathinte Swantham Cleetus\n\nEarly life\nG. Marthandan was born to M. S. Gopalan Nair and P. Kamalamma at Changanassery in Kottayam district of Kerala. He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College, Changanassery.\n\nCareer\nAfter completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995. His next work was British Market, directed by Nissar in 1998. He worked as an associate director for 18 years.He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role. His next movie was in 2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. Daivathinte Swantham Cleetus and Paavada were box office successes.\n\nFilmography\nAs director\nAs associate director\nAs actor\nTV serialKanyadanam (Malayalam TV series) - pilot episode\n\nAwards\nRamu Kariat Film Award - Paavada (2016)\nJCI Foundation Award - Daivathinte Swantham Cleetus (2013)\nPassage 10:\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)",
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  "questions": [
    {
      "question_id": "q00",
      "qtype": "2wikimqa",
      "question": "Which film has the director who died first, The Year Of The Rabbit or Monster On The Campus?"
    }
  ]
}