spb/wp30_uqo

1{2  "document_id": "lb_2wikimqa_8dedfb4f00b873379cb4457d81113516b8db6c4017a1c912",3  "family": "public_2wikimqa",4  "split": "dev",5  "text": "Passage 1:\nWale Adebanwi\nWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.\n\nEducation background\nWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.\n\nCareer\nAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.\n\nWorks\nHis published works include:\nNation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)\nYoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)\nAuthority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.\n\nThe Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)\nWriters and Social Thought in Africa (Routledge, 2016)\n(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)\n(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).\n(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)\n(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).\n\nAwards\nRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.\nPassage 2:\nFred Williamson\nFrederick Robert Williamson (born March 5, 1938), also known as \"the Hammer\", is an American actor and former professional American football defensive back who played mainly in the American Football League (AFL) during the 1960s. Williamson has had a busy film career, starring as Tommy Gibbs in the 1973 crime drama film Black Caesar and its sequel Hell Up in Harlem. Williamson also had roles in other 1970s blaxploitation films such as Hammer (1972), That Man Bolt (1973) and Three the Hard Way (1974).\n\nEarly life and education\nBorn in Gary, Indiana, Williamson was the oldest child born to Frank, a welder and Lydia Williamson. Williamson attended Froebel High School, where he ran track and played football. He graduated in 1956. After high school, Williamson left Gary for Evanston, Illinois to attend Northwestern University on a football scholarship.\n\nCareer\nFootball\nAfter playing college football for Northwestern in the late 1950s, Williamson was signed as an undrafted free agent by the Pittsburgh Steelers. When during training camp he was switched to their defense, his attitude over the switch prompted him to play his position with too much aggression, and the coach of the 49ers asked him to quit \"hammering\" his players. Thus, \"The Hammer\" quickly stuck and became his nickname.\nWilliamson played one year for the Steelers in the National Football League in 1960. Next, he moved to the new American Football League. Williamson played four seasons for the AFL's Oakland Raiders, making the AFL All-Star team in 1961, 1962, and 1963. He also played three seasons for the AFL's Kansas City Chiefs. During his period of playing for the Chiefs, Williamson became one of football's first self-promoters, nurturing the nickname \"The Hammer\" because he used his forearm to deliver karate-style blows to the heads of opposing players, especially wide receivers. Before Super Bowl I, Williamson garnered national headlines by boasting that he would knock the Green Bay Packers starting receivers, Carroll Dale and Boyd Dowler, out of the game. He stated \"Two hammers to Dowler, one to Dale should be enough\".His prediction turned out to be an ironic one because \"they (Green Bay) broke the hammer\" as Williamson himself was knocked out of the game in the fourth quarter on the way to a 35–10 defeat. Williamson's head met the knee of the Packers' running back Donny Anderson. Williamson later suffered a broken arm from his own teammate when Chiefs linebacker Sherrill Headrick fell on him. Williamson finished his eight-season pro football career in 1967 with a history of many hard tackles, passes knocked away, and 36 pass interceptions in 104 games. Williamson returned his interceptions for 479 yards and two touchdowns. After signing with the Montreal Alouettes of the Canadian Football League during the 1968 season, but not having played in a league game, Williamson retired.\n\nActing\nWilliamson became an actor much in the mold of star running back Jim Brown. He acted alongside Brown in films such as Three the Hard Way (1974), Take a Hard Ride (1975), One Down, Two to Go (1982), Original Gangstas (1996) and On the Edge (2002). Williamson also guest starred with Brown in various television roles. In October 1973, Williamson posed nude for Playgirl magazine, preempting Brown's appearance in 1974. Williamson's early television roles included a role in the original Star Trek episode \"The Cloud Minders\" (1969), in which he played Anka. He also played Diahann Carroll's love interest in the sitcom Julia. In an interview for the DVD of Bronx Warriors, Williamson stated that his role in Julia was created for him when he convinced the producers that the Black community was upset that Julia had a different boyfriend every week.\nWilliamson's early film work included roles in M*A*S*H (1970) and Tell Me That You Love Me, Junie Moon (1970).  He portrayed an escaped slave who flees westward in The Legend of Nigger Charley (1972). He played the role of an African-American gangster in the film Black Caesar (1973) and its subsequent sequel, Hell Up in Harlem (also 1973). Williamson also starred in the 1975 western film Boss Nigger, in which he played the title role. After this he appeared as an actor in several films, most of which are considered to be of the \"blaxploitation\" genre. Williamson starred alongside Peter Boyle and Eli Wallach in the movie Crazy Joe (1974). In 1974, Williamson was selected by the ABC television network as a commentator on Monday Night Football to replace Don Meredith, who had left to pursue an acting and broadcasting career at rival network NBC. Williamson was used on a few pre-season broadcasts, but was quickly declared unsuitable by ABC. He was relieved of his duties at the beginning of the regular season, becoming the first MNF personality not to endure for an entire season. He was replaced by the fellow former player (and fellow Gary, Indiana, native) Alex Karras.\nWilliamson co-starred in the short-lived series Half Nelson (1985). During the mid-to-late 1980s and early 1990s, Williamson frequently appeared on television as a spokesman for King Cobra malt liquor (\"Don't let the smooth taste fool you.\"), as did fellow actor/martial artist Martin Kove. In 1994, Williamson, along with many other black actors from the 'Blaxploitation' movie era (namely Antonio Fargas, Pam Grier, Rudy Ray Moore, and Ron O'Neal) made a cameo appearance on Snoop Doggy Dogg's music video \"Doggy Dogg World\", where he appears as himself using his pro-football nickname \"The Hammer\". Williamson co-starred with George Clooney and Quentin Tarantino in From Dusk till Dawn (1996), directed by Robert Rodriguez. He was in the cast of the original The Inglorious Bastards (1978), which would later inspire Tarantino's 2009 film of similar name.\nWilliamson has continued his career as an actor and director into the 21st Century, appearing in the reboot film Starsky & Hutch (2004) derived from the 1970s television series.\n\nWorking with clique of actors\nWilliamson has co-starred in a number of films with Bo Svenson. They include, The Inglorious Bastards (1978), Deadly Impact (1984), Delta Force Commando (1987), The Kill Reflex (1989), Three Days to a Kill (1991),  and Steele's Law (1991)\n\nDirecting and producing\nSince the 1970s, Williamson has had another career as a director and producer. His first film as producer was Boss Nigger (1975), in which he also starred. His second film as producer was with Mean Johnny Barrows (1976), a predecessor of the Rambo films which similarly featured a violent Vietnam Vet plot (though the novel First Blood on which the film First Blood was based was written in 1972). He has since directed over 20 features. In the middle of the 1970s, Williamson relocated to Rome, Italy and formed his own company Po' Boy Productions, which started to produce actioners including Adios Amigo (1976) and Death Journey (1976), both of which starred and were directed by Williamson. Although his most recent efforts as director and producer have mainly been direct-to-video, Williamson remains an active film maker.\n\nPersonal life\nWilliamson has been married twice. His first marriage was to Ginette Lavonda from 1960 until 1967. Williamson has been married to Linda Williamson since 1988. Williamson has at least three children but some sources state he has at least six. Williamson has black belts in Kenpō, Shotokan karate and taekwondo. Since 1997, Williamson has had a home in Palm Springs, California.\n\nFilmography\nSee also\nList of American Football League players\nPassage 3:\nLarry Cohen\nLawrence George Cohen (July 15, 1936 – March 23, 2019) was an American screenwriter, producer, and director of film and television, best known as an author of horror and science fiction films — often containing police procedural and satirical elements — during the 1970s and 1980s, such as It's Alive (1974), God Told Me To (1976), It Lives Again (1978), The Stuff (1985) and A Return to Salem's Lot (1987). He originally emerged as the writer of blaxploitation films such as Bone (1972), Black Caesar, and Hell Up in Harlem (both 1973). Later on he concentrated mainly on screenwriting, including Phone Booth (2002), Cellular (2004) and Captivity (2007).\nEarly in his career, Cohen was a prolific television writer, creating series such as Branded, Blue Light, Coronet Blue, and The Invaders. In 2006, he returned to the directing chair for Mick Garris's anthology series Masters of Horror, directing the episode \"Pick Me Up\". In 2017, Cohen was the recipient of a Lifetime Achievement Award from the Fantasia International Film Festival.\n\nEarly life\nLawrence George Cohen was born in Manhattan, New York City, on July 15, 1936. His family was of Jewish ancestry. His sister, Ronni Chasen, was a publicist who worked with him beginning early in his film career. He moved to the Riverdale section of the Bronx in New York City at an early age.\nCohen exhibited a voracious appetite for films as a child, visiting the movie theaters at least twice a week, and most of them being double features, the young Cohen managed to consume at least four movies a week. He was a fan of the hard-boiled and film noir movies that featured actors such as Humphrey Bogart and James Cagney; films that were penned by the likes of Raymond Chandler and Dashiell Hammett. Cohen was especially a fan of director Michael Curtiz, whose films include The Adventures of Robin Hood, Casablanca, and Dodge City.\nHe majored in film studies at the City College of New York.\n\nCareer\nEarly work\nDuring the 1950s Cohen worked for the NBC television network, where he learned how to produce teleplays, and shortly afterward began writing his own television scripts. He created the TV series The Invaders and also scripted episodes of The Defenders and The Fugitive.Cohen began his career as a writer for well-known television series, concentrating his efforts on the crime and detective genres. He penned several episodes of The Defenders (1964) — which starred E.G. Marshall — one episode of Espionage (1964), and episodes of The Fugitive (1964–65). Other writing credits during the 1950s and 1960s included the fantasy-suspense anthologies Kraft Television Theatre (1958) and Kraft Suspense Theatre (1965), the espionage TV series Blue Light (1966) starring Robert Goulet and Coronet Blue (1967) starring Frank Converse, and the science-fiction TV series, The Invaders (1967–1968). In 1966, he wrote the screenplay to the Western film Return of the Seven (also known as Return of the Magnificent Seven), a sequel to the 1960 film The Magnificent Seven, which had the return of Yul Brynner as gunslinger Chris Adams. Four episodes he wrote for Blue Light were edited together to create the theatrical film I Deal in Danger, released in December 1966. He also created the Western TV series Branded (1965–1966) and was the co-creator with Walter Grauman of Blue Light.\n\n1970s\nAlthough Cohen continued to write TV and film scripts during the 1970s – such as Columbo – he further turned his hand to directing. His directorial debut was the 1972 comedy film Bone (aka Beverly Hills Nightmare) starring Yaphet Kotto. Cohen directed Dial Rat for Terror (1973) and Housewife (1973) before creating the It's Alive series in 1974. He wrote, produced and directed the horror film It's Alive, about a mutant monster baby that embarks on a killing spree. The film – an initial commercial failure – was re-released with a new and sharper advertisement campaign; it went on to become a moderate success, earning over $7 million for Warner Bros. and spawning two sequels, It Lives Again (1978) and It's Alive III: Island of the Alive (1987).Cohen followed-up It's Alive with the science-fiction serial killer film God Told Me To (1976), in which a New York detective investigates a spate of killings by apparently random people who say that God told them to commit the crimes. He concentrated his work predominantly within the horror genre throughout the 1970s and 1980s, often incorporating elements of crime, police procedural, and science fiction with scathing social commentary.\nCohen's It's Alive tells of a couple, Frank and Lenore Davis, who give birth to a mutated baby. The doctors and nurses at the hospital attempt to end the life of the deformed child, but it instead kills them and escapes. A police manhunt ensues as the fleeing mutation leaves dead bodies in its wake. Frank sees the child just as Dr. Frankenstein saw his monster and assists the police.\nThe emphasis in It's Alive is on the potential effects of chemicals to the ecosystem, and experimental prescription drugs that can be harmful to unborn babies. The score for It's Alive was composed by Bernard Herrmann, known for his contributions to many Alfred Hitchcock films, including Psycho, North by Northwest, and Vertigo. The welling strings, horn arrangements and harp glissandos throughout the film prefigure the soundtrack to Herrmann's final film score two years later for Taxi Driver. The cast includes John P. Ryan, Sharon Farrell, James Dixon, and Andrew Duggan.\nIt Lives Again (1978) picks up where the first one ended. More mutated babies are appearing around the country. Frank has now joined a renegade mob who are attempting to stop the government from killing these strange mutations. The emphasis in It Lives Again is on accepting one's child, even if it is born with deformities or disabilities. The score is again provided by Bernard Herrmann. The cast includes John P. Ryan, James Dixon, Andrew Duggan, and Frederic Forrest.\n\n1980s\nDuring the 1980s, Cohen directed, produced, and scripted a number of low-budget horror films, many of which featured actor Michael Moriarty. The first was Q – a.k.a. Q: The Winged Serpent (1982) — about an Aztec god known as Quetzalcoatl (the Winged Serpent) resurrected and nesting atop the Chrysler Building. The film is set in New York City, as was typical for Cohen, and sees two police detectives investigating a spate of killings in the city. The cast is headed by Moriarty and co-stars David Carradine, Candy Clark, Richard Roundtree, and James Dixon (another Cohen regular). The Chrysler Building scenes were actually shot on location in and around the building, including the inside and outside of the cone atop the edifice.\nCohen's next project with Moriarty was The Stuff (1985), in which an alien substance of sorts is found bubbling out of the ground. The Stuff is marketed at the general public, which rapidly becomes addicted to it. David \"Mo\" Rutheford, an industrial saboteur, played by Moriarty, is hired to investigate the origins of the Stuff and decides to destroy the product. The film co-stars Danny Aiello, Brian Bloom, Scott Bloom, Andrea Marcovicci, Patrick O'Neal, and Paul Sorvino. Saturday Night Live regular Garrett Morris plays Charlie W. Hobbs a.k.a. Chocolate Chip Charlie, a junk food mogul who assists Mo with his investigation. Cohen cast Moriarty in It's Alive 3: Island of the Alive (1987)—the third part of the Alive Trilogy—and again in A Return to Salem's Lot (1987), the unofficial sequel of Stephen King's novel and TV miniseries Salem's Lot. Cohen finished the 1980s with Wicked Stepmother (1989), in which the late Bette Davis made her last appearance.\n\n1990s\nCohen began the 1990s with his film The Ambulance (1990) starring Eric Roberts. The film is set in New York City and is focused on Josh Baker (Roberts), an aspiring comic book artist, who investigates a string of disappearances: people who are picked up by a mysterious ambulance that never reaches the city hospital. The Ambulance features cameos by Stan Lee, Larry Hama and Jim Salicrup of Marvel Comics. He would direct only two other films during the 1990s, one being the Blaxploitation film Original Gangstas (1996), featuring Jim Brown, Pam Grier, and Fred Williamson. For most of the decade, Cohen concentrated on writing. He penned the remainder of the William Lustig Maniac Cop Trilogy – he had previously scripted Maniac Cop in 1988 – that features Robert Z'Dar as undead Maniac Cop, Matt Cordell, and B-Movie horror actor Bruce Campbell. He then provided the story of the third adaptation of Jack Finney's 1955 science-fiction novel The Body Snatchers, a tale of alien invasion and paranoia: Body Snatchers was directed by Abel Ferrara and starred Forest Whitaker. Throughout the decade Cohen was further involved in various TV projects including NYPD Blue and the Ed McBain-inspired 87th Precinct: Heatwave.\n\n2000s\nCohen's output after the 1990s was less prolific and concentrated solely on scriptwriting, except for a brief return to directing with the Masters of Horror episode \"Pick Me Up\" (2006). His first project, Phone Booth (2002), became involved in a Hollywood bidding war, the script eventually ending up in the hands of Joel Schumacher. Phone Booth was a commercial success with an estimated budget of $13 million and a worldwide gross of $98 million. The film starred Colin Farrell, Katie Holmes, Kiefer Sutherland, and Forest Whitaker; it was produced by David Zucker.\nHis next film, another action-crime thriller titled Cellular (2004), also featured phones and, like Phone Booth, it was a modest commercial success with an estimated budget of $25 million and a gross worldwide return of $50 million. Cellular starred Kim Basinger, Chris Evans, William H. Macy, and Jason Statham. Cellular was later re-made as Connected (2008), Cohen being credited with the story. He then scripted the horror-thriller films Captivity (2007) and Messages Deleted (2009); however, both films fared poorly on a critical and commercial level. Cohen nevertheless received acclaim for the above-mentioned Pick Me Up, which he directed for the Mick Garris TV series Masters of Horror (2006). The episode was written by splatterpunk-horror author David Schow, and starred Cohen regular Michael Moriarty.\n\nIn 2003, Cohen, together with production partner Martin Poll, was at the center of a lawsuit against 20th Century Fox, claiming the company had intentionally plagiarized a script of theirs titled Cast of Characters in order to create the Sean Connery-starring League of Extraordinary Gentlemen in 2003. According to the BBC, the lawsuit alleged 'that Mr. Cohen and Mr. Poll pitched the idea to Fox several times between 1993 and 1996, under the name Cast of Characters.' The League of Extraordinary Gentlemen was an adaptation of the 1999 published comic book series by Alan Moore and artist Kevin O'Neill.In 2006, Cohen was included in the Masters of Horror TV anthology, which also included – but was not limited to – writers and directors as diverse as Dario Argento, Clive Barker, John Carpenter, Richard Chizmar, Don Coscarelli, Wes Craven, David Cronenberg, Joe Dante, Guillermo del Toro, Ernest Dickerson, Stuart Gordon, James Gunn, Sam Hamm, Tom Holland, Tobe Hooper, Lloyd Kaufman, Mary Lambert, John Landis, Joe R. Lansdale, Bentley Little, H.P. Lovecraft, Joe Lynch, William Lustig, Peter Medak, Lucky McKee, Kat O' Shea, Robert Rodriguez, Eli Roth, David Schow, and Tim Sullivan. It was created by Mick Garris for the Showtime cable network. Cohen's contribution was the segment Pick Me Up, based on a short story by David Schow, who also wrote the teleplay. It stars Fairuza Balk and Cohen regulars Laurene Landon and Michael Moriarty. Pick Me Up is the story of woman traveling on a bus that has broken down along a stretch of lonely two-lane blacktop. Enter two serial killers: Wheeler (Moriarty), a driver who picks up hitchhikers with the sole intent of killing them – and – Walker (Warren Kole), a hitchhiker who accepts lifts in order to find his victims. The two killers pair up and inventively murder all the passengers on the bus, save for Stacia (Balk), who has since gone her own way. Stacia eventually winds up in the middle of a serial killer turf war, a war over which killer will get her first. Pick Me Up signaled a brief return to the director's chair for Cohen.\nJosef Rusnak remade Cohen's It's Alive in 2009. Still awaiting a score on Rotten Tomatoes, the existing reviews are also very poor. Even Cohen admitted that the remake was dreadful and states: 'It's a terrible picture. It's just beyond awful'. Cohen offered his 1974 script but remarks that it was completely ignored: \"I would advise anybody who likes my film to cross the street and avoid seeing the new enchilada.\"\n\nPersonal life\nCohen was married twice: to Janelle Webb, until their divorce in 1980; and then to Cynthia Costas, from 1994 until his death. He had two daughters. His sister Ronni Chasen was murdered on November 16, 2010 in a drive-by shooting in Beverly HIlls.\n\nDeath\nOn March 23, 2019, Cohen died from cancer at his home in Beverly Hills, California, at age 82.\n\nCritical response\nCritical response to Cohen's work has been extremely varied, with reviews ranging from good to poor.\n\nThe Stuff\nCohen's science fiction horror film and satirical social commentary The Stuff (1985) garnered mixed reviews, often being compared to Jack Finney's The Body Snatchers novel and the 1958 film The Blob. It has a moderate fresh rating of 63% on Rotten Tomatoes. The Apollo Movie Guide remarks that The Stuff works on a purely visceral level, and that it further achieves a tongue-in-cheek social parody of a society that cannot help buying into the latest craze. Although Apollo praised the juxtaposition of Cohen's clever screenplay and Michael Moriarty's performance, it states that the film is not a classic. It does, however, award the film a modest Apollo Rating of 77/100. The Chicago Sun-Times, on the other hand, sees The Stuff as a widely ambitious movie that fails mainly due to distracting glitches and a lack of plausibility, specifically, \"What we have here are a lot of nice touches in search of a movie.\" Chicago Sun-Times rating: 1 1/2 stars out of 5. Bloody Disgusting nevertheless awarded The Stuff 3 stars out of 5, pointing out both the good and the bad, \"[I]t's smart, it's relevant and it has some bad acting. [It should be] enjoyed for all the wrong and some of the right reasons that it is not just a horror movie, but a very honest and important movie as well.\"\n\nQ: The Winged Serpent\nHis fantasy horror Q a.k.a. Q: The Winged Serpent (1982) has a Rotten Tomatoes rating of 61%. TV Guide praise Cohen for his intelligence, creativity and originality and further comment that '[Cohen] successfully combines a film noir crime story with a good old-fashioned giant monster movie' and that 'Michael Moriarty turns in a brilliant performance as Jimmy Quinn [...]'. Horror author and movie critic, Kim Newman, praises Cohen's plot originality and canny use of characters in Empire, pointing out the director's use of an oddball as lead – Jimmy Quinn – who would ordinarily be a secondary character or warrant solely a cameo appearance; Newman also explains how Cohen has relegated all the usual plot devices – in movies such as King Kong – to the background. Alternatively, the Chicago Reader, although viewing Cohen's monster movie as 'cheesy' and 'fun', ultimately condemns the movie as being 'curiously disengaged and sloppy'. The New York Times, following the film's opening day at the Rivoli Theater, had just 'a few words – only a very few – about Q, offering a brief neutral synopsis and a couple of quotes. Variety are more favourable, focusing on Cohen's 'wild' and 'bizarre' – albeit realistic – efforts: Q has great fun mixing realistic settings with political satire and a wild yarn'. They go on to say that the film belongs to both Moriarty and the Monster.\n\nIt's Alive\nIt's Alive, the first part of Cohen's horror trilogy featuring a mutated baby that kills its prey when trapped or frightened, holds a rating of 67% on Rotten Tomatoes, one of the highest ratings for his films. Focusing on the social context of the film at the time, The Film Journal points out that It's Alive \"carries a potent mix of both suspense and social critique [...] [i]nvoking such taboo subjects as abortion as early as 1974.\" As well as being apt at providing 'suspense,' The Film Journal acknowledges Cohen's ability \"to impart an intelligent nature to his otherwise pulpy horror films.\" Black Hole magazine opines that despite a lack of A-List actors and special effects, It's Alive still manages to maintain the viewer's interest due to Cohen's \"unique horror concept and a script rich in ideas.\" Black Hole nevertheless points out that \"[w]hile the drama is consistent, it's less successful as a seventies monster movie, and especially lacking now.\" Whereas Jaws (1975) revealed the shark slowly, Cohen's film \"barely ever shows us the goods.\" The magazine does agree, however, that It's Alive was \"a sufficiently powerful monster movie and [that] audiences wanted more.\" Filmcritic draws attention to the humour element, especially the scenes where the Baby-Monster is rustling in the bushes, unseen, comparing it to the scene in Basket Case (1982) when that film's Baby-Monster is stuffed into a garbage sack after being cut away from its human twin. Basket Case is indeed a part of another – later – Baby-Monster horror trilogy. In short, Filmcritic says that Cohen's film should not be confused with art; and yet, it is \"pretty scary stuff\" that \"manages a few neat tricks.\"\n\nGod Told Me To\nGod Told Me To a.k.a. Demon (1976), Cohen's science fiction thriller, has a rating of 75% on Rotten Tomatoes, making it Cohen's most successful directorial effort, critically. The film, in which a number of New York citizens embark on a killing spree because God Told Them To, is called \"one of his most ambitious movies\" that is \"cemented in an interesting idea\" by QNetwork Entertainment, who find Cohen's ideology of the existence of God interesting: \"cynical at best\" and \"sacrilegious at worst.\" The magazine continues, however, to comment on Cohen's lack of patience and drive when completing his movies, regarding the end products as being \"hastily thrown-together\" and \"a mosaic of scenes, rather than a satisfying whole.\" In conclusion QNetwork give the film an even 2 1/2 stars for being the \"clumsiest and most entertaining schlock of the last 20 years.\" CinePassion online magazine simply states: \"[a] work of genius, in other words, possibly the Cohen joint that brims with the most all-pervasive invention and danger, as radical a Seventies 'incoherent text' as Taxi Driver and a clear linchpin of The X-Files.\" The Chicago Sun-Times sees Cohen's incoherent text in a different light, likening the film to a cinematic version of the card game 52 Pickup: \"the movie does achieve greatness in another way: this is the most confused feature-length film [...] ever seen.\" But Time Out applauded Cohen for offering \"the perfect existential anti-hero\" in New York cop, Lo Bianco, in a film that \"overflows with such perverse and subversive notions that no amount of shoddy editing and substandard camerawork can conceal [its] unusual qualities\" and that by \"[d]igging deep into the psyche of American manhood, it lays bare the guilt-ridden oppressions of a soulless society.\"\n\nFilmography\nFilm\nActing roles\nTelevision\nTV movies\n\nTV series\n\nNotes\nPassage 4:\nHassan Zee\nHassan \"Doctor\" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan.\n\nEarly life\nDoctor Zee grew up in Chakwal, a small village in Punjab, Pakistan. as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities. As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children.\nAt age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs.  It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences. He cared for women who were victims of  \"Bride Burning,\" the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring.  He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive. These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films.In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his home\n\nEducation\nHe received his early education from Jinnah Public School, Chakwal. He got his medical doctor degree at Rawalpindi Medical College, Pakistan.\n\nFilm career\nDoctor Zee's first film titled Night of Henna was released in 2005. The theme of the film dealt with \"the conflict between Old World immigrant customs and modern Western ways...\" Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture. Many often landed themselves in trouble when it came to marrying off their children.\nHis second film Bicycle Bride came out in 2010, which was about \"the clash between the bonds of family and the weight of tradition.\" His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil. His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, \"Ghost in San Francisco\" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend. While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure.\nPassage 5:\nHartley Lobban\nHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.\n\nLife and career\nLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.\nHe was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.\nPassage 6:\nEdvīns Šnore\nEdvīns Šnore (born 21 March 1974, in Saulkrasti) is a Latvian film director and politician. He was elected to a four-year term in the Latvian Saeima in 2014 and 2018.Šnore's family comes from Kuldīga. He went to high school in Riga. During the Revolutions of 1989 he sympathized with the Popular Front of Latvia. He first studied political science in Norway, and then earned his master's degree at the University of Latvia. In 2013 he completed his  Doctoral thesis on the Western European view of Holodomor.Šnore has become known for his 2008 documentary The Soviet Story. For this film, he was awarded with the Latvian Order of the Three Stars in 2008, and the Estonian Order of the Cross of Terra Mariana in 2009. In 2016 Šnore released another documentary called The Unknown War: Baltic Resistance on the guerrilla war in the Baltic states.\n\nViews\nIn his article \"The goal: A Latvian Latvia\", E. Šnore expressed his views about the Russians in Latvia, as well as the Russian language as such. According to him, \"… the Russophone immigrants of the Soviet times disparage and rail at Latvia all the time, yet still do not leave it. At least, not at the rate desired by the Latvians\". He also refers to Minister of Social Affairs of Latvia Alfreds Bērziņš saying \"… the Russian louse, once let into a coat, is hard to get rid of\" and Paul A. Goble that \"…the Russian language is exactly the primary weapon of the Kremlin's hybrid war against the Baltic States\". E. Šnore concludes that \"… the Latvian Latvia <…> is the only way towards a prosperous, safe and united Latvia\".\nMr Šnore was reprimanded by the parliamentary ethics commission - with the mildest possible punishment, an oral warning. The article and the mild reaction to it have drawn criticism from two Council of Europe bodies - the European Commission against Racism and Intolerance and the Advisory Committee on the Framework Convention for the Protection of National Minorities.\nPassage 7:\nHell Up in Harlem\nHell Up in Harlem is a 1973 blaxploitation American neo-noir film, starring Fred Williamson and Gloria Hendry. Written and directed by Larry Cohen, it is a sequel to the film Black Caesar.\nThe film's soundtrack was recorded by Edwin Starr and released by Motown Records in January 1974.\n\nPlot\nHaving survived the assassination attempt at the end of Black Caesar, Tommy Gibbs takes on corrupt New York District Attorney DiAngelo, who had sought to jail Gibbs and his father, Papa Gibbs, in order to monopolize the illicit drug trade. Gibbs decides to eliminate drug pushing from the streets of Harlem, while continuing to carry out his other illicit enterprises. Gibbs falls in love with Sister Jennifer (Margaret Avery), a woman who works with Reverend Rufus, a former pimp who has found a religious calling.\nGibbs and his father have a falling out after Gibbs is told by his enforcer, Zach, that his father ordered the death of Gibbs' ex-wife, Helen. Gibbs and Jennifer move to Los Angeles, leaving Papa Gibbs in charge of the Harlem territory. It is later revealed that Zach himself killed Helen as part of a move to take over the territory, with the assistance of DiAngelo. Gibbs defeats hit men sent to take him out in Los Angeles, while Papa dies from a heart attack while fighting Zach.\nKnowing that DiAngelo will be having the New York airports and roads watched, Gibbs flies in to Philadelphia, and then enters New York City on foot in order to carry out a personal war against Zach and DiAngelo.\n\nCast\nFred Williamson as Tommy Gibbs\nJulius Harris as Papa Gibbs\nGloria Hendry as Helen Bradley-Washington\nMargaret Avery as Sister Jennifer\nD'Urville Martin as Reverend Rufus\nTony King as Zach\nGerald Gordon as DiAngelo\nBobby Ramsen as Joe Frankfurter\nJames Dixon as \"Irish\" Bryant\nEsther Sutherland as The Cook\nCharles MacGuire as Charles MacGregor\n\nRelease on DVD & HD\nIn 2001 it was released on DVD.\nIn 2010 it was digitized in High Definition (1080i) and broadcast on MGMHD.\n\nSee also\nList of American films of 1973\nPassage 8:\nGloria Hendry\nGloria Hendry (born March 3, 1949) is an American actress and former model. Hendry is best known for her roles in films from the 1970s, most notably: portraying Rosie Carver in 1973's James Bond film Live and Let Die; and Helen Bradley in the blaxploitation film Black Caesar, and the sequel, Hell Up in Harlem.\n\nBiography\nEarly life and education\nBorn in Jacksonville or Winter Haven, Florida (sources differ), Hendry was the older of two daughters. Hendry's family, which consisted of her mother and sister relocated to Newark, New Jersey to live with her grandparents during her early childhood. Hendry studied at Essex College of Business for Law.\n\nCareer\nHendry worked as a Playboy Bunny at the New York Playboy Club from 1965 until 1972. In 1968, Hendry received her first acting role in Sidney Poitier's film For Love of Ivy, followed by a small role in the 1970 film The Landlord. In 1973, Hendry portrayed the Bond girl Rosie Carver in the James Bond film Live and Let Die. In that film, she became the first African American woman to become romantically involved with 007; Trina Parks, who played a nemesis to Bond rather than a love interest in Diamonds Are Forever (the previous Bond film) is considered to be the first Black Bond girl.Hendry later starred in several 1970s blaxploitation films, including Across 110th Street (1972), Slaughter's Big Rip-Off (1973), and both the 1973 films Black Caesar and its sequel Hell Up in Harlem. She also portrayed the martial arts expert, Sydney, in Black Belt Jones (1974), and appeared in Savage Sisters (1974) and Bare Knuckles (1977). Her later films included the horror film Pumpkinhead II: Blood Wings (1994) and the action comedy Freaky Deaky (2012).\n\nFilmography\nFilm\nPassage 9:\nThe Soviet Story\nThe Soviet Story is a 2008 documentary film about Soviet Communism and Soviet–German relations before 1941 and after, written and directed by Edvīns Šnore, and sponsored by the right-wing Union for Europe of the Nations group in the European Parliament. The film features interviews with Western and Russian historians such as Norman Davies and Boris Vadimovich Sokolov, the Russian writer Viktor Suvorov, the Soviet dissident Vladimir Bukovsky, members of the European Parliament, and participants and survivors of the Soviet terror. Sokolov later emphasized that he simply offered expert advice and told Šnore that some of the things he claimed were based on obvious falsifications.Using those interviews, together with historical footage and documents, the film documentary argues that there were close philosophical, political and organisational connections between the Nazi and the Soviet systems. It highlights the Great Purge, the Holodomor, the Molotov–Ribbentrop Pact, the Katyn massacre, the Gestapo–NKVD collaboration, forced population transfer in the Soviet Union, and the medical experiments in the gulags. The documentary goes on to argue that the successor states to Nazi Germany and the Soviet Union differ in the sense that postwar Germany condemns the actions of Nazi Germany, but the opinion in contemporary Russia is summarised by a quote from Vladimir Putin: \"One needs to acknowledge that the collapse of the Soviet Union was the greatest geopolitical catastrophe of the century.\" In the closing credits of the film, it is stated: \"The Soviet Union killed more than 20,000,000 men, women and children. This film is dedicated to them.\"\n\nAnalysis and memory\nThe documentary film, commissioned by the national-conservative and right-wing Union for Europe of the Nations group in the European Parliament, compared the atrocities of the two regimes. In the documentary, producer and director Edvīns Šnore argued that \"not only were the crimes of the former inspired by the crimes of the latter, but that they helped each other, and that without their mutual assistance the outcome of World War II could have been quite different.\" In Latvia the forced Soviet deportations are commonly seen as a genocidal practice. The European Day of Remembrance for Victims of Stalinism and Nazism, proclaimed by the European Parliament in August 2008 and endorsed by the Organization for Security and Co-operation in Europe in July 2009; it is officially known as the Black Ribbon Day in some countries, including Canada. Among many scholars in Western Europe, the comparison of the two totalitarian regimes and the equation of their crimes has been and still is widely rejected.According to Mārtiņš Kaprāns, a communication science expert and researcher at the Institute of Philosophy and Sociology, University of Latvia, \"[s]cholars have argued that The Soviet Story is an effective Latvian response to Russian propaganda, but it also exemplifies the broader problems of post-communist memory politics.\" Kaprāns writes that \"the idea of how memory work triggered by the documentary got started on social networking sites\" and on \"the video-sharing website YouTube and the Internet encyclopedia Wikipedia, both of which are crucial meaning-making sites with respect to history.\" According to Kaprāns, his memory studies article \"demonstrates transnational memory work in YouTube and Wikipedia as a multidirectional enterprise that both reinforces and emancipates existing hegemonic representations of controversial past.\"\n\nReactions\nPositive\nVarious Members of the European Parliament (MEPs) who were interviewed for the film have expressed views in favour of it. According to the Latvian MEPs Inese Vaidere and Ģirts Valdis Kristovskis, writing in The Parliament Magazine, \"The Soviet Story makes a significant contribution to the establishment of a common understanding of history and brings us closer to the truth about the tragic events of the 20th century. A common understanding of history among the member states is crucial for the future of the whole EU.\" Both Vaidere and Kristovskis represent the Union for Europe of the Nations group which actively supported the production of the film.After watching the film, Finnish MEP Ari Vatanen opined: \"It is a powerful message. Thank you for telling the truth. It will awaken people.\" After the premiere in the European parliament, Vatanen stated: \"We cannot build a humanity if we close our eyes to this kind of massacres. Our possibility is to serve justice to those people.\" British MEP Christopher Beazley commented: \"This film is very important. It's a very powerful representation of what took place in Poland, in Latvia and the other Central European countries.\"Vytautas Landsbergis, MEP and the former head of the Seimas, assessed The Soviet Story as \"a world class film, which should be shown to the world\", while Latvia's Minister of Justice Gaidis Bērziņš from For Fatherland and Freedom/LNNK stated that he would encourage the Ministry of Education to have the film shown in all schools in Latvia because of its important historical message.\n\nNegative\nA number of critics condemned the film even before its premiere. Boris Tsilevitch, a Latvian member of the Saeima representing Harmony Centre, stated that it was a \"typical propaganda\" and its release was timed to coincide with the 2009 European Parliament election in Latvia. MEP from Latvia Tatjana Ždanoka, who opposed Latvia's independence from the Soviet Union and ran as a candidate of the largest Russian political bloc in Latvia, regards the film as a \"propagandistic odd job, which is given out to be \"a new word in history\", while also expressing her belief that \"the second part of the film is pure political PR\" because the first part of the film pictures the point of view of some historians and contemporary politicians criticize modern Russia in the end of the film. Ždanoka also stated that \"a lot of attention was devoted to the partnership of the German and Russian military. This is followed by a jump forward in time to the 1940s, with a mass-meeting of Vlasovites is shown against a background of swastika.\"The film prompted negative reactions from Russian organizations, press, and politicians. According to the \"European Voice\" newspaper, Russians are infuriated by the film which reveals the extent of Nazi and Soviet collaboration. On 17 May 2008, the Russian pro-governmental youth organization Young Russia (Russian: Россия Молодая) organized the protest \"Let's not allow the rewriting of history!\" (Russian: Не дадим переписать историю!, romanized: Ne dadim perepisat' istoriyu!) in front of the Embassy of Latvia in Moscow. An effigy representing Edvīns Šnore was burnt during the protest. Alexander Reshideovich Dyukov, a former member of the Russian ARMS-TASS Agency of Military and Technical Information, has been the most vocal critic of the documentary. He was quoted as saying: \"After watching two thirds of the film, I had only one wish: to kill its director and to burn down the Latvian Embassy.\" As a result of Dyukov's statements, a criminal investigation was initiated against him in Latvia. Asked to comment on the case, Latvian Foreign Minister Māris Riekstiņš commented that Dyukov might be a \"mentally unstable personality\", while Prime Minister of Estonia Mart Laar called Dyukov \"an officer of FSB\", Russia's principal security agency.Russian State Duma Deputy Irina Yarovaya, the coordinator of the ruling party United Russia's State Patriotic Club and a member of the Presidium of the General Council, declared that the film \"glorifies Estonian Nazi collaborators, those who killed people in Khatyn and in Pskov region.\" In response to Yarovaya's statement which apparently confuses Katyn with Khatyn, Estonian politician and historian Mart Laar wrote: \"It is indeed impressive how much wrong can be put into one sentence. First, Estonians did not kill anyone in Khatyn and, secondly, the specific crime committed in Khatyn is not mentioned in the film at all. ... This gives the impression that Yarovaya, actually, has not seen the film.\"\n\nReception\nThe film has attracted both praise and criticism from political commentators. The Economist praised it as \"a sharply provocative work\", and stated that \"Soviet Story is the most powerful antidote yet to the sanitisation of the past. The film is gripping, audacious and uncompromising. ... The main aim of the film is to show the close connections—philosophical, political and organisational—between the Nazi and Soviet systems.\" For The New York Times, Neil Genzlinger wrote: \"The filmmaking in The Soviet Story is so overwrought that at times the movie comes across as comical. ... The film is not dispassionate scholarship; Mr. Snore, who is Latvian, and his backers (including some members of the European Parliament) obviously have an agenda, though to the casual American viewer it may not be clear what it is.\"Latvian political scientist and cultural commentator Ivars Ijabs offered a negative review of The Soviet Story, describing it as a well-made and \"effective piece of cinematic propaganda in the good sense of this word\", whose message is clearly presented to the audience. Ijabs does not agree with a number of historical interpretations in the film, asserting that it contains errors. In one example, Ijabs states: \"In late 1930s Hitler did not yet plan a systematic genocide against the Jews [as it is suggested in the film]. Everybody knows that this decision was made in 1942 at the Wannsee Conference in Berlin.\" Ijabs also disagreed with the contention in the film by the British literary historian, liberal, and former political activist George Watson that Friedrich Engels is \"the ancestor of the modern political genocide.\" Further,  Ijabs refuted the film’s criticism of Karl Marx as being the 'progenitor of modern genocide', although he acknowledged the use of the term Völkerabfälle in Karl Marx's newspaper.Boris Vadimovich Sokolov, one of the historians interviewed in the film, was quoted as saying: \"I had only been an expert there and I can only answer for what I am saying there myself. I had told to Šnore that some of his narratives are obvious forgeries he was tricked by. For example, Beria—Müller agreement on killing Jews together.\"In Lauren Wissot's review for Slant Magazine, \"Soviet Story does a thorough job of laying out what happened, but its dull, educational-style format doesn't guide us to the next step of why we should care.\" In his Time Out review, Joshua Rothkopf stated: \"An offensively schlocky treatment of an important subject, The Soviet Story turns Stalin's systematic starvation and slaughter of millions into a hopped-up horror flick.\"\n\nFilm festivals and awards\nThe Soviet Story has been screened in the following film festivals:\n\n2008 Boston Film Festival – Boston, Massachusetts; received the \"Mass Impact Award\"\n2008 KinoLev Film Festival – Lviv, Ukraine\n2008 Black Nights Film Festival – Tallinn, Estonia\n2008 Arsenals Film Festival – Riga, Latvia\n2008 Promitey Film Festival – Tbilisi, Georgia\n2008 Baltic Film Festival – Berlin, Germany\n2009 Sedona International Film Festival – Sedona, Arizona\n2009 Mene Tekel festival – Prague, Czech Republic\n2009 Politicsonfilm Film Festival – Washington, D.C.\n2011 Free Minds Film Festival – Colorado Springs, Colorado\n2012 Free Minds Film Festival – Colorado Springs, ColoradoIn 2008, the president of Latvia, Valdis Zatlers awarded the director Edvīns Šnore with the Order of the Three Stars. In 2009, the film was nominated for the biannual Latvian National Film Award Lielais Kristaps in the \"Best Documentary\" category. In the same year, Šnore received the Estonian Order of the Cross of Terra Mariana for creating The Soviet Story.\n\nSee also\nComparison of Nazism and Stalinism\n\nNotes\nPassage 10:\nHenry Moore (cricketer)\nHenry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.\n\nLife and family\nHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great \ngrandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.\n\nCricket career\nMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.",6  "char_len": 55005,7  "document_hash": "303b0732258146405a8d6ee4fe52386041a17a7a32f02df67a49cb7a84ca4db2",8  "questions": [9    {10      "question_id": "q00",11      "qtype": "2wikimqa",12      "question": "Which film has the director who was born first, Hell Up In Harlem or The Soviet Story?"13    }14  ]15}