Passage 1:
Ludwig II (2012 film)
Ludwig II is a 2012 German-Austrian historical film directed by Peter Sehr and Marie Noëlle, starring Sabin Tambrea as the younger Bavarian King Ludwig II and Sebastian Schipper as the king in his later years.

Plot
Crown Prince Ludwig suffers under the authoritarian education of his father King Maximilian II and has no interest in his militaristic attitude. In addition, because of his love for music and the fine arts, Ludwig repeatedly incurs the displeasure of his father. For Ludwig, art is more important than daily bread.
Maximilian II dies unexpectedly of erysipelas, so Ludwig, full of idealism, ascends the Bavarian throne at the age of 18. At a time when war and poverty are omnipresent, he believes in a better world and wants to use his power to ensure that his people can live in peace and happiness. He wants his kingdom to become a place where beauty, art and culture will flourish; instead of weapons, Ludwig wants to invest public money in theatre, music and education.
He spends his free time with his young cousin, Sophie, the sister of the Austrian Empress Sissi. With her he can philosophise about music and the beauty of the world. Moreover, he has all of his rooms in the castle remodelled and designed according to his ideas.
He loves Richard Wagner's operas, and his passion and admiration for the controversial composer's works and their legends are so great that he wants to bring Wagner to his court. To achieve this, he instructs the well-known music lover Johann von Lutz to track down Wagner and bring him to his court. He awaits the arrival of his idol impatiently and receives him with great respect. He settles Wagner's debts and obtains a pardon for the revolutionary and politically persecuted composer. However, his ministers rebel against his expensive sponsorship of the composer.
At first, Ludwig throws himself into political business with enthusiasm. He initiates a school reform and distributesmusical instruments instead of weapons to his young cadets. He is of the opinion that if Bavaria should ever be attacked, the sound of Wagner's music will immediately disarm them. Even a conversation with his cousin, Elisabeth of Austria, who wants to ask for help in preventing Prussia from waging war against Austria, fails because of his naive belief that music alone is capable of keeping people's hearts in a peaceful .
Ludwig's ministers are not satisfied with the power that Wagner's ideas seem to have over the young king. Ludwig increasingly neglects the affairs of government. The news of an impending war reaches him while he is on the road with Wagner in the Bavarian mountains. The composer suggests that he replace the ministers who now want to go to war. They in turn threaten to resign from their positions if Ludwig does not part with Wagner and his influence. Since the king fears for his friend's life, he urges him to leave Bavaria. He realises that circumstances are against him, and his beloved kingdom gets involved in the war with Prussia against his will. Disheartened, and showing first signs of delusional illnesses, Ludwig withdraws from public life.
The news of the defeat of his army hits him hard, since he has spent the money that was intended for modern rifles on musical instruments. His stable master, Richard Hornig, is at his side and is willing to support him, but Ludwig does not want to admit his affection for men. In order to deal with the war defeat, he travels his country and shows himself to his people. Moreover, he plans his wedding with Sophie because he is convinced that the people expect this from him. As part of the wedding preparations, Wagner arrives at court again to take over the musical design. As a result, Ludwig meets a young singer, Heinrich Vogel, whom he wants to hear singing as Lohengrin, which incurs Wagner's displeasure.
Sophie demands proof of love in the form of a kiss from her future husband. This leads to a scandal, and Ludwig cancels his already planned and longed-for wedding because he realises that, due to his homosexuality, which he does not confess to her or to others, he cannot have more than friendship with his fiancée. In a letter, he asks Sophie's forgiveness and understanding. In his opinion, she has the right to be happy, which would not be possible at his side in the long run.
In addition to those private problems, political events are catching up with him again. Bavaria's defeat by Prussia forces the country to enter the 1870-71 war against France as a compulsory ally of Otto von Bismarck. Bismarck's efforts to create an all-German empire, headed by an emperor, destroys the dream of a sovereign Bavarian kingdom continuing to exist. Ludwig's brother Otto suffers a nervous breakdown and has to be taken to a sanatorium. The attending physician assumes that Otto will not recover from his mental derangement. Ludwig promises to build his brother a castle where he can be who he is, just as he also longs himself to have a place where he can be who he is. With this in mind, he has Neuschwanstein Castle built.
Nevertheless, Ludwig does not achieve peace: the abysses of his soul are too deep, tormenting him and making him despair. Disillusioned, he retires again from public life and takes refuge in the world of opera melodies. He does not want to admit the financial problems that the state budget has to suffer due to his excessive  construction activities. But reality catches up with him, and Ludwig's opponents team up to depose him and the castles in his dream realm of fantasy. Even his long-standing devotee Johann von Lutz, whom he had made minister, comes to doubt Ludwig's common sense. After a fire breaks out in the castle, Richard Hornig is seriously injured. The sadness of never being allowed to stand by his love for the stable master drives him even further into madness, which his opponents are now increasingly aware of. One of his ministers has a medical report drawn up in order to justify deposing the king.
Ludwig senses the plan and intends to blow himself up with his castles before he can be chased away from them, but the project fails due to the inappropriate explosives. Following that, the minister succeeds in taking the king into medical care against his will in Castle Berg.
Desperate about the disregard for his royal privileges, and his treatment as a "poor lunatic", he decided to escape his treatment. While taking a walk with his doctor, he escapes him and runs into Lake Starnberg, where he drowns.

Historical inaccuracies
The death of King Maximilian II, Ludwig's father, in the film is shown as if it were extremely sudden. Actually, the sickness which led to his death lasted for many weeks, during which Ludwig was criticized for the audiences he granted to the tenor Albert Niemann, a behaviour considered disrespectful towards his sick father.
The meeting between Ludwig and Richard Hornig where Hornig himself finds Wagner, which in the film takes place in March 1864, happened instead in May 1867
In the film the famous official portrait of Ludwig is painted in 1867 while in reality it was already painted in 1865.
In the film Richard Wagner is found by Hornig while in reality he was found by the king's minister Pfistermeister. Indeed, it was to him that Ludwig gave the photograph with the ruby to give to the composer, and not to Lutz as seen in the film.
Ludwig decides to curl his hair for the arrival of Wagner, but this decision was actually made when he was still crown prince to hide his protruding ears, a physical defect that he could not bear.
In the film Ludwig signs the famous Kaiserbrief in the Residenz, while it happened in Hohenschwangau, which is neither shown nor mentioned, although it was a castle very dear to Ludwig.

Cast
Sabin Tambrea as King Ludwig II (young)
Sebastian Schipper as King Ludwig II
Hannah Herzsprung as Empress Elisabeth of Austria
Edgar Selge as Richard Wagner
Tom Schilling as Prince Otto
Justus von Dohnányi as Johann von Lutz
Friedrich Mücke as Richard Hornig
Samuel Finzi as Lorenz Mayr
Christophe Malavoy as Napoleon III
Axel Milberg as King Maximilian II
Katharina Thalbach as Queen Marie
Uwe Ochsenknecht as Prince Luitpold
Paula Beer as Duchess Sophie in Bavaria
August Wittgenstein as Alfred Eckbrecht von Dürckheim-Montmartin
Passage 2:
Marie of Prussia
Marie of Prussia (German: Marie Friederike Franziska Auguste Hedwig von Preußen; October 15, 1825 – May 17, 1889) was Queen of Bavaria by marriage to Maximilian II of Bavaria, and the mother of Kings Ludwig II and Otto of Bavaria.

Life
Born and raised in Berlin, she was the daughter of Prince Wilhelm of Prussia, a younger brother of King Friedrich Wilhelm III of Prussia, and his wife, Landgravine Marie Anna of Hesse-Homburg. The family spent half of the year at Fischbach (today Karpniki) Castle in Silesia, where they loved to hike in the Giant Mountains.
In her youth, Marie was seriously considered as a wife for Ernest II, Duke of Saxe-Coburg and Gotha, until her engagement to Maximilian was announced.

Queen
On 12 October 1842, she married the Crown Prince, and later King of Bavaria, Maximilian II.
Marie was loved equally by both the Catholic and Protestant populations. (At that time, Bavaria was mostly Catholic, whilst Prussia was mostly Evangelical.) A specific emphasis of her "great social engagement" was a reactivation of the Bavarian Women's Association, which took place on 18 December 1869 with the aid of her son, Ludwig II. Its aim was "Pflege und Unterstützung der im Felde verwundeten und erkrankten Krieger" (Care and support of soldiers wounded and injured in the field). The Bavarian Red Cross was officially founded as a result of the Bavarian Women's Association. The Red Cross eventually took over for the Queen.

Queen dowager
With the sudden death of Maximilian II on 10 March 1864, Marie became a widow. On 12 October 1874, she converted to Catholicism.
As a widow she lived at Nymphenburg Palace. She spent her summer holidays at Schloss Hohenschwangau near Füssen, a castle her husband had redecorated in Gothic Revival style, and at her country estate in Elbigenalp in the Lechtal Alps. She enjoyed hiking the mountains, which she had often done with her sons when they were young. Marie looked after her second son Otto, who was declared insane. She outlived her elder son, Ludwig II, by nearly three years; his unusual death occurring on 13 June 1886. He had not liked her very much (just as he disliked most of his other relatives) and had tried to avoid contact as far as possible. Marie died in 1889 in Hohenschwangau.
She is interred in the Theatine Church in Munich in a side chapel opposite her husband.

Issue
Ludwig II of Bavaria (25 August 1845 - 13 June 1886); succeeded as King of Bavaria as Ludwig II. Declared mentally incompetent without examination and deposed in a coup in favour of his uncle, Prince Luitpold, on 10 June 1886; died under disputed circumstances.
Otto I of Bavaria (27 April 1848 - 11 October 1916); succeeded as King of Bavaria as Otto I, but reigned only in name due to the regency of his uncle, Prince Luitpold. Declared mentally incompetent and deposed on 5 November 1913 by his cousin Prince Ludwig, later King Ludwig III of Bavaria.

Honours
Kingdom of Bavaria: Grand Mistress of the Order of Theresa
 Kingdom of Prussia:Dame of the Order of Louise, 1st Division
Cross of Merit for Women and Girls
 Spain: Dame of the Order of Queen Maria Luisa, 17 June 1856
 Kingdom of Saxony: Dame of the Order of Sidonia, 1871

Ancestry
Passage 3:
Ernst Lubitsch
Ernst Lubitsch (; January 29, 1892 – November 30, 1947) was a German-born film director, producer, writer, and actor. His urbane comedies of manners gave him the reputation of being Hollywood's most elegant and sophisticated director; as his prestige grew, his films were promoted as having "the Lubitsch touch". Among his best known works are Trouble in Paradise (1932), Design for Living (1933), Ninotchka (1939), The Shop Around the Corner (1940), To Be or Not to Be (1942) and Heaven Can Wait (1943).
He was nominated for the Academy Award for Best Director three times for The Patriot (1928), The Love Parade (1929), and Heaven Can Wait (1943). In 1946, he received an Honorary Academy Award for his distinguished contributions to the art of the motion picture.

Early life
Lubitsch was born in 1892 in Berlin, the son of Simon Lubitsch, a tailor, and Anna (née) Lindenstaedt. His family was Ashkenazi Jewish; his father was born in Grodno in the Russian Empire (now Belarus), and his mother was from Wriezen outside Berlin. He turned his back on his father's tailoring business to enter the theater, and by 1911 was a member of Max Reinhardt's Deutsches Theater.

Career
Early work, 1913–1921
In 1913, Lubitsch made his film debut as an actor in The Ideal Wife. He gradually abandoned acting to concentrate on directing. He appeared in approximately 30 films as an actor between 1912 and 1920. His last film appearance as an actor was in the 1920 drama Sumurun, opposite Pola Negri and Paul Wegener, which he also directed.
In 1918, he made his mark as a serious director with Die Augen der Mumie Ma (The Eyes of the Mummy), starring Pola Negri. Lubitsch alternated between escapist comedies and large-scale historical dramas, enjoying great international success with both. His reputation as a grand master of world cinema reached a new peak after the release of his spectacles Madame Du Barry (retitled Passion, 1919) and Anna Boleyn (Deception, 1920). Both of these films found American distributorship by early 1921. They, along with Lubitsch's Carmen (released as Gypsy Blood in the U.S. in 1921) were selected by The New York Times on its list of the 15 most important movies of 1921.
With glowing reviews under his belt and American money flowing his way, Lubitsch formed his own production company and set to work on the high-budget spectacular The Loves of Pharaoh (1921). Lubitsch sailed to the United States for the first time in December 1921 for what was intended as a lengthy publicity and professional factfinding tour, scheduled to culminate in the February premiere of Pharaoh. However, with World War I still fresh, and with a slew of German "New Wave" releases encroaching on American movie workers' livelihoods, Lubitsch was not gladly received. He cut his trip short after little more than three weeks and returned to Germany. But he had already seen enough of the American film industry to know that its resources far outstripped the spartan German companies.

Hollywood silent films, 1922–1927
Lubitsch finally left Germany for Hollywood in 1922, contracted as a director by Mary Pickford. He directed Pickford in the film Rosita; the result was a critical and commercial success, but director and star clashed during its filming, and it ended up as the only project that they made together. A free agent after just one American film, Lubitsch was signed to a remarkable three-year, six-picture contract by Warner Brothers that guaranteed the director his choice of both cast and crew, and full editing control over the final cut.
Settling in America, Lubitsch established his reputation for sophisticated comedy with such stylish films as The Marriage Circle (1924), Lady Windermere's Fan (1925), and So This Is Paris (1926). But his films were only marginally profitable for Warner Brothers, and Lubitsch's contract was eventually dissolved by mutual consent, with Metro-Goldwyn-Mayer and Paramount buying out the remainder. His first film for MGM, The Student Prince in Old Heidelberg (1927), was well regarded, but lost money. The Patriot (1928), produced by Paramount, earned him his first Academy Award nomination for Best Directing.

Sound films, 1928–1940
Lubitsch seized upon the advent of sound films to direct musicals. With his first sound film, The Love Parade (1929), starring Maurice Chevalier and Jeanette MacDonald, Lubitsch hit his stride as a maker of worldly musical comedies (and earned himself another Oscar nomination). The Love Parade (1929), Monte Carlo (1930), and The Smiling Lieutenant (1931) were hailed by critics as masterpieces of the newly emerging musical genre. Lubitsch served on the faculty of the University of Southern California for a time.
His next film was a romantic comedy, written with Samson Raphaelson, Trouble in Paradise (1932). Later described (approvingly) as "truly amoral" by critic David Thomson, the cynical comedy was popular both with critics and with audiences. But it was a project that could only have been made before the enforcement of the Production Code, and after 1935, Trouble in Paradise was withdrawn from circulation. It was not seen again until 1968. The film was never available on videocassette and only became available on DVD in 2003.

Writing about Lubitsch's work, critic Michael Wilmington observed:
At once elegant and ribald, sophisticated and earthy, urbane and bemused, frivolous yet profound. They were directed by a man who was amused by sex rather than frightened of it – and who taught a whole culture to be amused by it as well.
Whether with music, as in MGM's opulent The Merry Widow (1934) and Paramount's One Hour with You (1932), or without, as in Design for Living (1933), Lubitsch continued to specialize in comedy. He made only one other dramatic film, the antiwar Broken Lullaby (also known as The Man I Killed, 1932).
In 1935, he was appointed Paramount's production manager, thus becoming the only major Hollywood director to run a large studio. Lubitsch subsequently produced his own films and supervised the production of films of other directors. But Lubitsch had trouble delegating authority, which was a problem when he was overseeing sixty different films. He was fired after a year on the job, and returned to full-time moviemaking. In 1936, he became a naturalized citizen of the United States.
On July 27, 1935, he married British actress Vivian Gaye. They had one daughter, Nicola Anne Patricia Lubitsch, on October 27, 1938. When war was declared in Europe, Vivian Lubitsch and her daughter were staying in London. Vivian sent her baby daughter, accompanied by her nursemaid, Consuela Strohmeier, to Montreal aboard the Donaldson Atlantic Line's SS Athenia, which was sunk by a German submarine on September 3, 1939 with a loss of 118 passengers. The child and the nurse survived.
In 1939, Lubitsch moved to MGM, and directed Greta Garbo in Ninotchka. Garbo and Lubitsch were friendly and had hoped to work together on a movie for years, but this would be their only project. The film, co-written by Billy Wilder, is a satirical comedy in which the famously serious actress' laughing scene was promoted by studio publicists with the tagline "Garbo Laughs!"
In 1940, he directed The Shop Around the Corner, an artful comedy of cross purposes. The film reunited Lubitsch with his Merry Widow screenwriter Raphaelson, and starred James Stewart and Margaret Sullavan as a pair of bickering co-workers in Budapest, each unaware that the other is their secret romantic correspondent. David Thomson wrote:

The Shop Around the Corner...is among the greatest of films...This is a love story about a couple too much in love with love to fall tidily into each other's arms. Though it all works out finally, a mystery is left, plus the fear of how easily good people can miss their chances. Beautifully written (by Lubitsch's favorite writer, Samson Raphaelson), Shop Around the Corner is a treasury of hopes and anxieties based in the desperate faces of Stewart and Sullavan. It is a comedy so good it frightens us for them. The café conversation may be the best meeting in American film. The shot of Sullavan's gloved hand, and then her ruined face, searching an empty mail box for a letter is one of the most fragile moments in film. For an instant, the ravishing Sullavan looks old and ill, touched by loss.

Later films, 1941–1947
Lubitsch next directed That Uncertain Feeling (1941), a remake of his 1925 film Kiss Me Again; an independent production by Lubitsch with Sol Lesser, it was not a commercial success. Lubitsch followed with a film that has become one of his best regarded comedies, To Be or Not to Be, a witty, dark and insightful film about a troupe of actors in Nazi-occupied Poland. He spent the balance of his career at 20th Century Fox, but a heart condition curtailed his activity, and he spent much of his time in supervisory capacities. His next picture was Heaven Can Wait (1943), his first color film and another Raphaelson collaboration. The film is about Henry Van Cleve (played by Don Ameche), who presents himself at the gates of Hell to recount his life and the women he has known from his mother onward, concentrating on his happy but sometimes difficult 25 years of marriage to Martha (Gene Tierney).
After Heaven Can Wait, Lubitsch began work on A Royal Scandal (1945), a remake of his silent film Forbidden Paradise.  Edwin Justus Mayer wrote the screenplay for A Royal Scandal and had worked with Lubitsch on To Be or Not to Be (1942). A Royal Scandal's pre-production and rehearsals were completed under Lubitsch, the original director of this film. He became ill during shooting, so Lubitsch hired Otto Preminger to finish the film. After A Royal Scandal, Lubitsch regained his health, and directed Cluny Brown (1946), with Charles Boyer and Jennifer Jones.
In March 1947, Lubitsch was awarded a Special Academy Award for his "25-year contribution to motion pictures". Presenter Mervyn LeRoy, calling Lubitsch "a master of innuendo", described some of his attributes as a filmmaker: "He had an adult mind and a hatred of saying things the obvious way." Lubitsch was the subject of several interviews at that time, and consistently cited The Shop Around the Corner as his favorite of his films. Considering his overall career, he mused "I made sometimes pictures which were not up to my standard, but then it can only be said about a mediocrity that all his works live up to his standard."

Death
Lubitsch died of a heart attack on November 30, 1947, in Hollywood at the age of 55. His last film, That Lady in Ermine with Betty Grable, was completed by Otto Preminger and released posthumously in 1948.
When leaving Lubitsch's funeral, William Wyler said "No more Lubitsch." Billy Wilder responded "Worse than that. No more Lubitsch pictures." Lubitsch is interred at Forest Lawn Memorial Park. On February 8, 1960, Lubitsch received a star on the Hollywood Walk of Fame for his contributions to the motion pictures industry, at 7040 Hollywood Blvd., Hollywood.

Lubitsch touch
Biographer Scott Eyman attempted to characterize the famed "Lubitsch touch":

With few exceptions Lubitsch's movies take place neither in Europe nor America but in Lubitschland, a place of metaphor, benign grace, rueful wisdom... What came to preoccupy this anomalous artist was the comedy of manners and the society in which it transpired, a world of delicate sangfroid, where a breach of sexual or social propriety and the appropriate response are ritualized, but in unexpected ways, where the basest things are discussed in elegant whispers; of the rapier, never the broadsword... To the unsophisticated eye, Lubitsch's work can appear dated, simply because his characters belong to a world of formal sexual protocol. But his approach to film, to comedy, and to life was not so much ahead of its time as it was singular, and totally out of any time.

Career assessment and legacy
In 1946, he received an Honorary Academy Award for his distinguished contributions to the art of the motion picture. He was nominated three times for Best Director.The Ernst-Lubitsch-Prize, a German Comedy prize, was established in 1958 in an effort of Billy Wilder to keep the memory of his friend alive.

Filmography
Passage 4:
Meyer from Berlin
Meyer from Berlin (German: Meyer aus Berlin) is a 1919 German silent comedy film directed by Ernst Lubitsch and starring Lubitsch, Ossi Oswalda and Ethel Orff. It was part of the Sally series of films featuring Lubitsch as a sharp young Berliner of Jewish heritage. It was Lubitsch's penultimate film as an actor, after 1920 he devoted himself entirely to screenwriting and directing.

Synopsis
Sally Meyer, a young Berliner, persuades his Doctor to convince his wife that he is ill, so that he is able to take a holiday in the Austrian Alps in order to pursue women. Meyer dresses up in what he considers Tyrolean attire. However, he mistakenly travels to the Bavarian Alps rather than Austria. Meyer becomes infatuated with Kitty, a young, attractive woman at the hotel where he is staying. His pursuit of her angers many of her other suitors who are also staying at the hotel. In order to impress Kitty, Meyer agrees rather reluctantly to climb Mount Watzmann. While they are approaching the summit, both Meyer's wife and Kitty's fiancée unexpectedly arrive from Berlin.

Cast
Ernst Lubitsch as Sally Meyer
Ethel Orff as Paula, his wife
Heinz Landsmann as Harry
Trude Troll as Kitty, his bride
Ossi Oswalda
Erich Schönfelder
Passage 5:
Eduard von Lutz
Eduard Ritter von Lutz (13 January 1810 – 8 July 1893) was a Bavarian Major General and War Minister under Maximilian II of Bavaria and under Ludwig II of Bavaria.

Biography
Von Lutz was born in Neuburg an der Donau. After passing his company officer career, he was advanced to Major in 1855, and became Oberstleutnant and deputy commander of the Germersheim fortress in 1859. One year after that he became commander of the Kriegsschule. In 1862 he became Oberst and commander of the 2nd Infantry Regiment. Von Lutz was war minister after August 15, 1863. After the Prussian defeat of Bavaria he withdrew on August 1, 1866. He died in Starnberg.

== References and notes ==
Passage 6:
William Dieterle
William Dieterle (July 15, 1893 – December 9, 1972) was a German-born actor and film director who emigrated to the United States in 1930 to leave a worsening political situation. He worked in Hollywood primarily as a director for much of his career, becoming a United States citizen in 1937. He moved back to Germany in the late 1950s.
His best-known films include The Story of Louis Pasteur (1936), The Hunchback of Notre Dame (1939) and The Devil and Daniel Webster (1941). His film The Life of Emile Zola (1937) won the Academy Award for Best Picture, the second biographical feature to do so.

Early life and career
He was born Wilhelm Dieterle in Ludwigshafen, the youngest child of nine, to factory worker Jacob and Berthe (Doerr) Dieterle. As a child, he lived in considerable poverty and earned money by various means, including carpentry and as a scrap dealer. He became interested in theater early and would stage productions in the family barn for friends and family.
At the age of sixteen, Dieterle had joined a traveling theater company as a handy-man, scene shifter, and apprentice actor. His striking good looks and ambition soon paved his way to gain roles as a leading romantic actor in theater productions. In 1919, he attracted the attention of theater director Max Reinhardt in Berlin, who hired him as an actor for his productions until 1924. He started acting in German films in 1921 to make more money and quickly became a popular character actor. He usually portrayed "country yokels" or simpletons with great gusto and popularity, but he was ambitious to begin a career as a director. In 1921, Dieterle married Charlotte Hagenbruch, an actress and later screenwriter.
In 1923, Dieterle used his own money to make his first film, Der Mensch am Wege. Based on the Leo Tolstoy short story "Where Love Is, God Is", the film co-starred a young Marlene Dietrich. Years later Dieterle said of the film, "we were just four or five very young, enthusiastic, and revolutionary people who wanted to do something different. We brought it out; it didn't make any money, but was shown and it was an interesting experiment." In 1924, Dieterle left Reinhardt's company and formed his own theater company in Berlin, although it was unsuccessful and short lived. He also returned to film acting for several years and appeared in such notable German films as Das Wachsfigurenkabinett (Waxworks) (1924) and F. W. Murnau's Faust (1926). In 1927, Dieterle and his wife formed their own production company, Charrha-Film. Dieterle returned to directing films, such as Sex in Chains (1928), in which he also played the lead role.

Hollywood career: 1930s
In 1930, the political and economic situations in Germany worsened. Like many from the German film industry, Dieterle and his wife emigrated to the United States. Dieterle had said, "It was a running joke in Berlin...if the phone rang at a restaurant they said it must be Hollywood. Well, one night my wife and I were dining out and it really happened." Dieterle was offered a job at First National to make German-language dubbed versions of Hollywood films, as the studios were afraid of losing foreign business with the advent of sound films. But when Dieterle, his wife and a group of actors arrived, they found that the films had already been dubbed. They were chosen as actors in German-language versions of four Hollywood films, including Lloyd Bacon's Moby Dick (1930), in which Dieterle played Ahab. After the four films were completed, Warner Brothers' Vice President of Production Hal B. Wallis was so impressed that he invited Dieterle to stay in Hollywood. He became a US citizen in 1937.
Dieterle adapted quickly to Hollywood filmmaking and directed his first film, The Last Flight in 1931. The film depicts four American fighter pilots who roam around Paris after World War I trying to put their lives back together. It starred Richard Barthelmess and Helen Chandler, and the plot was compared to the work of F. Scott Fitzgerald. Although not a success on its first run, it was hailed as a forgotten masterpiece at a 1970 revival screening. Dieterle's initial Hollywood career was neither successful nor notable. It included such films as the W. C. Fields musical Her Majesty, Love (1932), Jewel Robbery (1932), Adorable (1933), and Fog Over Frisco (1934) with Bette Davis.
In 1934, Max Reinhardt was staging a version of A Midsummer Night's Dream at the Hollywood Bowl in Los Angeles. Dieterle convinced Warner Brothers to finance a big budget version of the film with an all-star cast. The resulting film, A Midsummer Night's Dream (1935), revitalized Dieterle's career and he became a major Hollywood director. Starring James Cagney, Olivia de Havilland, Joe E. Brown and a 15-year-old Mickey Rooney, the film had very mixed reviews for its "Americanization" of Shakespeare, but was a success on release. It is now considered a classic. During production, Reinhardt would rehearse the actors and then let Dieterle direct the film.
Dieterle directed the first of his hugely successful "biography films" with actor Paul Muni, beginning with The Story of Louis Pasteur (1936). The film stars Muni as the scientist who discovered the principles of vaccination and struggled against a skeptical medical community. The film was a success both critically and financially, and earned Muni an Oscar for Best Actor. It also helped to establish Warner Brothers as a producer of "prestige pictures" after almost a decade of being known primarily for crime dramas. Dieterle was asked to direct several films which he did not like; he said "at Warners the moment you had a success they gave you something terrible to keep you from getting a swelled head." These films included the second version of Dashiell Hammett's The Maltese Falcon (Satan Met a Lady with Bette Davis), The Prince and the Pauper, and a bio-pic about Florence Nightingale, The White Angel.
Dieterle made another bio-pic with Paul Muni, The Life of Emile Zola (1937). Based on the life of the French philosopher and novelist Zola, the film explores Zola's response to the Dreyfus affair, in which the falsely accused and convicted Jewish French officer was found guilty of treason and imprisoned. The film was an enormous success and critic Frank S. Nugent ranked it as "the finest historical film ever made and the greatest screen biography." It was nominated for 10 Academy Awards and won for Best Picture, Best Supporting Actor for Joseph Schildkraut (as Dreyfus) and Best Screenplay. Dieterle lost the award for Best Director to Leo McCarey. It was his only nomination.
Dieterle's next film was Blockade (1938), starring Henry Fonda as a dedicated Loyalist fighter and Madeline Carroll as the reluctant Franco spy who falls in love with him during the Spanish Civil War. The film was openly anti-fascist and critical of nations that stood by and let fascist dictators commit atrocities. Its 1938 premiere at Grauman's Chinese Theater was abruptly and inexplicably cancelled, and it was mildly controversial upon release. During the late 1940s and 1950s it was cited as suspicious by Congressional committees investigating communist influence, such as the House Un-American Activities Committee. Both Dieterle and its screenwriter were viewed negatively.
Juarez (1939) was the third biographical picture that Dieterle made with Muni, depicting the life of Mexican politician Benito Juárez and his conflict with Emperor Maximilian I. Upon its release, Dieterle was called "the quintessential liberal director of the 30s." When interviewed in the 1970s, Dieterle said of the movie, "it should be the biggest kind of picture right now—a big modern army worn down by guerrilla fighters. The parallel with Vietnam is so obvious."Dieterle found both financial and critical success with The Hunchback of Notre Dame (also 1939). The film stars Charles Laughton as Quasimodo and a 19-year-old Maureen O'Hara as Esmeralda. Dieterle made two more bio-pics, both starring Edward G. Robinson instead of Muni. Dr. Ehrlich's Magic Bullet (1940) is about Paul Ehrlich's discovery of Salvarsan, which made syphilis curable; and A Dispatch from Reuter's (also 1940), is about the man who established the first news agency. These were Dieterle's last films for Warner Brothers.

Hollywood career: 1940s
While many commentators at the time felt that his career had reached a peak in the 1930s, it is now believed that the films of this period contain some of his best work. David Thomson, for instance, has written that the bio-pics of the 1930s are "ponderous, Germanic works, suffering from staginess and the unrestrained histrionics of Paul Muni." By the time he was working for Selznick in the 1940s, the director's "sense of almost supernatural atmosphere" matched those of his producer, while his later works "all suggest, if not a late flowering, a realization that his talent was for the lavish romantic."The Devil and Daniel Webster (also known as All That Money Can Buy, 1941) is a gothic fantasy and loose adaptation of the Faust legend set in New Hampshire during the 1840s. It stars Walter Huston and Edward Arnold as the titular Prince of Darkness and early Congressman, who battle over the soul of Jabez Stone after an ill-conceived deal with the devil. Although unsuccessful upon its initial release, it is today a classic with Noirish cinematography by Joe August, Oscar-winning score by Bernard Herrmann, and still impressive special effects.
After another bio-pic about President Andrew Johnson called Tennessee Johnson (1942) starring Van Heflin and Lionel Barrymore and a remake of Kismet (1944) with Ronald Colman and Marlene Dietrich,  Love Letters (1945) stars Joseph Cotten as a soldier who writes love letters on behalf of a friend during World War II. Jennifer Jones stars as the recipient of the letters who falls in love with the writer. Years after the war, Cotten tracks down Jones only to find that she has lost her memory and apparently killed her husband. The film was produced by Jones's then husband David O. Selznick, who also produced Dieterle's next film.
Portrait of Jennie (1948) stars Cotten and Jones as a painter and his muse. After meeting in Central Park one day, Cotten paints a portrait of Jones that makes him famous, but is unable to find his muse who he has fallen in love with. The film's budget dramatically increased during production and Selznick was forced to sell Dieterle's contract to Paramount Pictures, where his career never reached the heights of the previous 15 years.

Later career
Dieterle's career declined in the 1950s during the era of McCarthyism. Although he was never blacklisted directly, his Spanish Republic-sympathetic film Blockade (1938), in addition to people he had worked with, were thought to be suspect. Also, in the 1930s he and his wife had worked to help get people out of Nazi Germany and given aid to many left-wing friends, including Bertolt Brecht. Of this period, Dieterle said: "Although I was never to my knowledge on any blacklist, I must have been on some kind of gray list because I couldn't get any work."He continued to make American films in the 1950s, including the film noir The Turning Point (1952) and Salome (1953) with Rita Hayworth. Production for Elephant Walk (1954) with Elizabeth Taylor was held up for three months when the State Department would not allow Dieterle to travel to Ceylon. He made two more Hollywood films before moving back to Europe: a biopic of Richard Wagner, Magic Fire (1955) for Republic Pictures and Omar Khayyam (1957).
He made some films in Germany and Italy, and an American flop, Quick, Let's Get Married (1964) – also known as The Confession or Seven Different Ways – with Ginger Rogers before retiring from film in 1965. He moved back to Germany and became the director of the Der Grüne Wagen theatre, then based in Taufkirchen near Munich, which he ran together with his wife, Charlotte Hagenbruch. After his wife's death in May 1968, he ran the theatre with his new wife, Elisabeth Daum, as a touring theatre.
Dieterle directed the ensemble for several years, with Elisabeth Bergner as his leading lady.Dieterle is remembered for always wearing a large hat and white gloves on set. This was due to needing to quickly change roles from actor to technician without dirtying his hands during his early career.

Selected filmography
See also
The Continental Players, co-founded by Dieterle
Passage 7:
Ludwig II, King of Bavaria
Ludwig II, King of Bavaria (German: Ludwig der Zweite, König von Bayern) is a 1929 German silent historical film directed by William Dieterle and starring Dieterle, Theodor Loos and Eugen Burg. It portrays the life and reign of the monarch Ludwig II who ruled Bavaria from 1864 to 1886. It was made at the Bavaria Studios in Geiselgasteig, Munich. The production company was the German subsidiary of the American studio Universal Pictures.

Cast
Passage 8:
Sophia Dorothea of Hanover
Sophia Dorothea of Hanover (26 March [O.S. 16 March] 1687 – 28 June 1757) was Queen in Prussia and Electress of Brandenburg during the reign of her husband, King Frederick William I, from 1713 to 1740. She was the mother of Frederick the Great (King Frederick II of Prussia).
At the time of Sophia's birth, her father was merely the son of a German prince, Ernest Augustus, Duke of Brunswick-Lüneburg. It was not until 1701 that the Act of Settlement placed him, through his mother, in line to inherit the throne of Great Britain. Sophia was twenty-seven years of age, and had already become the Queen of Prussia, as also the mother of many children, by the time her father became King George I of Great Britain in 1714.

Life
Sophia Dorothea was born on 16 March 1687 (O.S.), in Hanover. She was the only daughter of George Louis of Hanover, later King George I of Great Britain, and his wife, Sophia Dorothea of Celle. She was detested by her elder brother, King George II of Great Britain.After the divorce and imprisonment of her mother, she was raised in Hanover under the supervision of her paternal grandmother, Sophia of Hanover, and educated by her Huguenot teacher Madame de Sacetot.

Marriage
Sophia Dorothea married her cousin (her father's sister's son), Crown Prince Frederick William of Prussia, heir apparent to the Prussian throne, on 28 November 1706. They had met as children when Frederick William had spent some time in Hanover under the care of their grandmother, Sophia of Hanover, and though Sophia Dorothea disliked him, Frederick William had reportedly felt an attraction to her early on.When a marriage was to be arranged for Frederick William, he was given two alternatives: Princess Ulrika Eleonora of Sweden or Sophia Dorothea of Hanover.   The Swedish match was preferred by his father, who wished to form a matrimonial alliance with Sweden, and thus the official Finck was sent to Stockholm under the pretext of an adjustment of the disputes regarding Pomerania, but in reality to observe the princess before issuing formal negotiations: Frederick William, however, preferred Sophia Dorothea and successfully tasked Finck with making such a deterring report of Ulrika Eleonora to his father that he would encounter less opposition when he informed his father of his choice.  A marriage alliance between Prussia and Hanover was regarded as a noncontroversial choice by both courts and the negotiations were swiftly conducted.  In order for Sophia Dorothea to make as good an impression as possible in Berlin, her grandmother, Electress Sophia, commissioned her niece Elizabeth Charlotte, Princess of the Palatinate to procure her trousseau in Paris. Her bridal paraphernalia attracted great attention and was referred to as the greatest of any German Princess yet.

The wedding by proxy took place in Hanover on 28 November 1706, and she arrived in Berlin on 27 November, where she was welcomed by her groom and his family outside of the city gates and before making her entrance into the capital. Thereafter followed a second wedding, the stately torch-dance, and six weeks of banquets and balls.

Crown Princess in Prussia
Sophia Dorothea was described as tall, with a beautiful slender figure, graceful and dignified with big blue eyes. Though not regarded as strictly beautiful, she was seen as quite attractive at the time of her marriage and described as charming in her manners, making a good impression in Berlin.  Frederick William often called her "Fiekchen".Sophia Dorothea and Frederick William differed from each other in every aspect and the marriage suffered as a result.  Sophia Dorothea was interested in art, science, literature and fashion, while Frederick William was described as an unpolished, uneducated and spartan military man with rough manners. Though he was never unfaithful to her, he was unable to win her affection.  One of the most important differences between them was that Sophia Dorothea, unlike her husband, loved entertainment, something he regarded to be frivolous.  Frederick William contemplated divorcing her the same year they married and, judging by her letters, accused her of not wanting to be married to him.  According to Morgenstern, "He had none of that astonishing complaisance by which lovers, whether husbands or friends, seek to win the favor of the beloved object. As far as can be gathered from the words he occasionally let drop, the crossing of his first love might have been the innocent cause of this; and as the object of this passion, by the directions of her mother and grandmother, treated him with harshness, where, then, could he learn to make love?"The birth of her firstborn son, Frederick Louis, in 1707 was celebrated greatly in Prussia, and Sophia Dorothea successfully asked the king to liberate the imprisoned minister Eberhard von Danckelmann.  In 1708, after the death of her firstborn son, the physicians declared that Sophia Dorothea was not likely to conceive again, which prompted the remarriage of her father-in-law.  However, she gave birth to several children in the following years, and finally to a son who survived in 1712.

Queen in Prussia
In 1713, her father-in-law Frederick I died and was succeeded by her spouse Frederick William I, making her queen in Prussia.
At the time of the accession, Prussia was at war with Sweden, and Sophia Dorothea accompanied Frederick William during the campaign of 1715, though she soon returned to Berlin to give birth to her daughter. During the war, the king left directions to his ministers to consult her and take no action without her approval in the case of emergency.  In 1717, she hosted Peter the Great on his visit to Berlin at her own palace Monbijou, as per the king's request, which was vandalized as a result.  Sophia Dorothea's first favorite was her maid of honor, von Wagnitz, who was dismissed after an intrigue in which Kreutz and her mother tried to make her the king's mistress, as well as being a spy of the French ambassador Rothenburg.Queen Sophia Dorothea was admired for her gracious manners and nicknamed "Olympia" for her regal bearing, but scarred by smallpox and overweight with time, she was not called a beauty. She was known as extremely haughty, proud, and ambitious, but Frederick William greatly disliked her interference in politics, as it was his belief that women should be kept only for breeding, and kept submissive as they would otherwise dominate their husbands.
The king was known for his parsimony and dislike of idleness to such a degree that he would beat people in the street as well as in the palace if he viewed them as lazy. The queen complained about the "horrible avarice" he pressed upon the household and as a result, according to Pollnitz, the queen's table was often so sparingly supplied that he had often given her money so that she could be able to have an omelette for supper.Frederick William viewed her interests in theater, dancing, jewelry and music as frivolous and resented any sign of her living a life independently from his authority: he particularly disliked her interest in gambling, and it is reported that she and her partners would have coffee beans ready on the table during gambling, so that if the king appeared, they could pretend to be playing with them rather than money.  On one occasion, the queen took the opportunity of the king being ill to host a ball at Monbijou with dancing and music, and where she herself gambled while wearing her diamond set.  When the king suddenly arrived, the dancing and music stopped immediately, and the queen unclasped her jewels and hid them in her pocket.
His manner toward her was described as rough and so noted that when he displayed the opposite, it was seen as a surprise.  Upon the death of her mother in 1726, Sophia Dorothea inherited a sum of three million, whereupon it attracted attention that Frederick William suddenly treated her very well: the Imperial ambassador reported that this was merely because he wanted her money, and when she never received it (as her brother refused to release the sum), Frederick William resumed his usual manner toward her.
For her part, Sophia Dorothea did not have a high opinion of the king's military interest or skill, and at one occasion, when he spoke disparagingly of the English commanders retorted: "No doubt they must wish to give you the command of their army."
Upon the illness of the king in Brandenburg during the campaign of 1719, he sent for Sophia Dorothea and entrusted her with his will, cautioning secrecy.  Within the document, she was named regent during the minority of their son, with Charles VI, Holy Roman Emperor, and King George I of Great Britain as guardians to the Crown Prince. The king's favorites, military general Friedrich von Grumbkow and Leopold I of Anhalt-Dessau, offered the queen's favorite Madame de Blaspiel a bribe if she procured information for them and influenced the queen in their favor; she in turn informed the queen, who informed the king, who summoned von Grumbkow and the Prince and told them to return to Berlin.  They then tasked Madame de Blaspiel's lover, Count de Manteufel, the Saxon ambassador, to acquire the document or at least find out its meaning: the queen did give de Blaspiel the document, and its contents were revealed to Grumbkow and Anhalt.  Grumbkow and Anhalt, now wishing to lessen the queen's influence after learning of the will appointing her regent, unsuccessfully tried to accuse her before the king of having borrowed money and pawning a pair of earrings given to her by the king to pay her gambling debts.     The queen countered by accusing Grumbkow of plotting against her.Concurrently, the Clement Affair took place, in which the alleged Hungarian nobleman Clement gained access to the king by use of false letters and convinced him that the courts of Vienna and Dresden were orchestrating a plot to depose him in favor of the crown prince who, under the guardianship of the Emperor, the queen, Grumbkow, and Arnhalt, was to then be raised a Catholic. All were accused of having been implicated in the plot before Clement was exposed as a con artist and summarily executed; another implicated was M. de Troschke, a gentleman of the chamber in service to the king, in whose possession was found a letter from Madame de Blaspiel expressing anger at the king's imprisonment of a suspected accomplice, Monsieur de Kamecke.   Grumbkow, suspecting the queen's favorite to have exposed his plot against the queen, delivered the letter to the king, who had de Blaspiel arrested, imprisoned for a year at Spandau, and then banished.  Her arrest forced the queen to remove the will of 1719 from the possession of Blaspiel before it was discovered there, to which end her chaplain procured it from the officer commissioned to seal up de Blaspiel's room.  After this the queen replaced her as confidant with her daughter, Princess Wilhelmine.
Sophia Dorothea had a very close relationship to her eldest son, Crown Prince Frederick, who was harshly treated by his father, who perceived him as effeminate.   According to her daughter Wilhelmine, the queen widened the rift between the king and the crown prince by demonstrating that she viewed the king's demands as unfair:

"Whatever my father ordered my brother to do, my mother commanded him to do the very reverse."Frederick William accused her of having damaged his relationship with his children, and therefore banned them from seeing her without his presence.  When the king banned the queen from communicating with her son, she corresponded with him through her daughter Wilhelmine.  When he refused to let her see her eldest children, she invited them to her rooms in secrecy; on at least one occasion, Frederick and Wilhelmine were forced to hide in the furniture in her rooms when Frederick William came to her room unexpectedly while they were there.   At the same time, the queen's favorite, Madame de Ramen, acted as a spy for the king, causing their relationship to deteriorate sharply.  Her children were terrorized and frequently beaten by Frederick William, who may have suffered from porphyria.    During the latter years of the king's life, he was often seized by fits of violence during which he hit people with his cane and threw things at his children.  This was a difficult situation for his family, as he often forced them to attend him, refusing to let them leave from 9 AM until bedtime.

Anglo-Prussian marriage alliance
Sophia Dorothea held a longtime ambition to arrange a double marriage of her eldest son, Crown Prince Frederick, to Princess Amelia of Great Britain, and her eldest daughter Wilhelmine to Frederick, future Prince of Wales.  This was a project that had first been raised during the children's infancy and would result in a strong alliance between Prussia and Great Britain.  Her plan was opposed by the king's favorites Grumbkow and Anhalt, who wished to arrange a marriage between Wilhelmine and Anhalt's nephew, Frederick William, Margrave of Brandenburg-Schwedt (the King's first cousin). He was next in line to inherit the throne after the crown prince, whose health was delicate. If he succeeded, Anhalt and Grumbkow hoped to come into a position of power.In 1723, the queen convinced the king to give his consent to the Prussian-British marriage alliance.  In October of that year, they hosted a visit by George I in Berlin, who inspected Wilhelmine and agreed to the double marriage alliance if it was approved by Parliament. One day, Frederick William went to visit George I in Goehr. Sophia Dorothea did not accompany him, because she gave birth unexpectedly just before they were to leave. Sophia had been unaware of her pregnancy, leading to a rumor that she had tried to hide it. This caused Frederick William to suspect her of adultery. Upon his return, he had to be prevented from beating her by her chief lady-in-waiting, Sophie de Kameke, who held his arm and told him "if he had only come there to kill his wife, he had better have kept away."  The king questioned the physician Stahl, his regimental surgeon Holzendorf, and de Kameke about the queen's suspected adultery, upon which de Kameke told him that "if he were not her king she would strangle him on the spot" for his accusation, which resulted in him making an apology to the queen and dismissing the affair.George I promised that the double marriage alliance would be formally agreed upon in connection with the Treaty of Hanover (1725). Sophia Dorothea accompanied Frederick William to meet George in Hanover to discuss the matter, and was left there to handle the negotiations when he returned to Berlin. However, she failed to accomplish anything, as the matter was avoided by both George I and his ministers.  When she returned to Berlin, Frederick William was so discontent with her failure that he had the passage between their apartments walled up (it remained so for six weeks). Frederick, Prince of Wales, sent his agent La Motte to ask whether she would permit a secret visit by him to see his intended bride, Wilhelmine. The queen agreed, but made the mistake of saying so to the British ambassador Dubourguai, which obliged him to inform George I. George recalled Frederick to England, and had La Motte arrested and imprisoned. All this damaged the queen and the prospect of the marriage alliance in the eyes of the king, causing a great row between them.
From 1726 until 1735, Friedrich Heinrich von Seckendorff was the Austrian ambassador in Berlin and the king's favorite. He came to be the main opponent of the queen, due to his opposition to the British-Prussian marriage alliance.   The animosity between the queen and Seckendorff was well known and commented on by the king:

"My wife and the whole world are against him; the Prince of Anhalt and my Fritz hate him like the pest, but he is a brave fellow, and loves me."In 1729, negotiations for the British marriage alliance were disrupted by the activities of Frederick William's army recruiters. Frederick William wanted tall soldiers for his army; his agents went all over Germany paying or even kidnapping such men. They snatched men from Hanover, whose ruler was also the king of Great Britain. This caused diplomatic incidents, and Frederick William stopped all negotiations. But  the queen renewed them. When Grumbkow revealed her independent negotiations to the king, the king stated that he would marry Wilhelmine to either a prince of Schwedt or Weissenfels, and that Sophia could consent or be imprisoned for life.She was advised by Borck to suggest Prince Frederick of Bayreuth as an alternative, which she did. Then she wrote to the queen of Great Britain, claiming illness. The reply was unsatisfactory, and the king learned of her pretense. Frederick William beat Wilhelmine in Sophia's presence, and Sophia agreed to drop the British marriage, provided that Wilhelmine was married to Frederick of Bayreuth, not the Duke of Saxe-Weissenfels. She fell genuinely ill shortly afterward, and successfully asked him to reconcile with their eldest son and daughter, and afterwards beat them only in private.Matters changed when the British ambassador Hotham arrived and officially suggested marriage between Wilhelmine and the Prince of Wales, providing the king agreed to marriage between Crown Prince Frederick and Amelia of Great Britain, and the dismissal of his favorite, the anti-British Grumbkow, whom they accused of treason against him.  The king agreed to the terms, if proof of Grumbkow's guilt was shown, and if his son was appointed governor of Hanover.  Grumbkow allied with Seckendorff to prevent the marriage alliance and thus his own fall, while the latter informed the king that the British suggestion was a result of the queen's intrigues to depose him in favor of his son and make Prussia a de facto British province through "the vain and haughty English daughter-in-law", whose extravagance would ruin the state.  When ambassador Hotham returned with the proof of Grumbkow's guilt, the king reportedly flew into a rage and beat the ambassador.  The queen had the crown prince write to Hotham and unsuccessfully ask him to reconcile with the king; before departing Prussia, however, he left the evidence against Grumbkow with the queen.

Escape attempt of the Crown Prince
Sophia Dorothea spent many days talking to her eldest son in the library, and was informed of his plans to escape from his father's custody. In August 1730, during a tour he made with his father through the provinces, Frederick tried to escape from Prussia, and was brought back a prisoner. The king informed the queen of the event through Sophie de Kamecke before their arrival. There were compromising letters by the queen and princess Wilhelmine in Frederick's portefeuille, which was forwarded to them by a friend after the arrest of Frederick's accomplice Katte. They burned the letters and replaced them with fabricated and uncompromising ones. However, "as there were near fifteen hundred of the originals, although we worked very hard, not more than six hundred or seven hundred could be completed in the time". The portefeuille was also filled with ornamental articles.   When the portefeuille was later opened, Frederick did not recognize its content. Grumbkow immediately suspected what had transpired and stated: "These cursed women have outwitted us!"
When the king returned, he told the queen that her son was dead. She replied: "What! Have you murdered your son?" When given the reply: "He was not my son, he was only a miserable deserter," she became hysterical and screamed repeatedly: "Mon Dieu, mon fils! mon Dieu, mon fils!"  The king then started to beat Wilhelmine and would possibly have killed her. Her siblings and ladies-in-waiting intervened. Frederick's accomplice Katte arrived as a prisoner, so the king beat him instead. When Frederick was imprisoned at the fortress in Küstrin, Grumbkow acted as mediator between Frederick and his parents, managing to reconcile them.The imprisonment was followed by continuous conflict between the king and the queen about the marriage of princess Wilhelmine. While the king pressed for a marriage to the Margrave of Schwedt or the Prince of Weissenfels, the queen exchanged secret messages with her daughter and urged her not to accept any other groom than the Prince of Wales.   This conflict caused the king to threaten to beat the queen and have Mademoiselle Sonsfeld publicly whipped. Finally, Wilhelmine was formally offered the choice between the Margrave of Schwedt, the Duke of Weissenfels, or the Prince of Bayreuth. She chose to marry the latter (as she had not seen him but had seen and disliked the other two), on condition that her father free her brother. Her decision was made against the will of her mother, who threatened to disown her for what she considered to be her daughter's lack of courage, and ordered her not to speak to her future groom when he arrived. The king was furious at the cold demeanor of the queen during the following visit of the Prince of Bayreuth.
After the betrothal of Wilhelmine and the Prince of Bayreuth, a message arrived in which George II consented to Wilhelmine marrying the Prince of Wales without her brother marrying his daughter Amelia. This message convinced the queen that a Prussian-British marriage alliance was possible. She therefore made a point of harassing the Prince of Bayreuth to stop the wedding. On the day of the wedding (20 November 1731), Sophia Dorothea tried to delay the ceremony by disarranging her daughter's hair every time it had been dressed, saying she was not satisfied with the effect, in the hope that a British courier might arrive in time to stop the ceremony.When Frederick was liberated after his sister's wedding, Sophia Dorothea resumed negotiations with Great Britain to marry him to Princess Amelia, and her next daughter, Philippine Charlotte, to the Prince of Wales, which would complete her life project of a Prussian-British marriage alliance. These plans was crushed in 1733, when Frederick William instead announced a marriage alliance with Brunswick by marrying Frederick to Elisabeth Christine of Brunswick-Wolfenbüttel-Bevern and Philippine Charlotte to Charles I, Duke of Brunswick-Wolfenbüttel.
But Sophia continued to pursue a Prussian-British marriage alliance, accomplishing a "reconciliation between the houses of England and Prussia negotiated by the Queen", this time by the marriage of the Prince of Wales to her third daughter Louisa Ulrika:

"La Herwein has conveyed the portrait of Ulrica to the Prince of Wales, and entertained Olympia (the Queen) with false hopes."This was crushed upon the marriage of the Prince of Wales in 1736 to Princess Augusta of Saxe-Gotha. Louisa Ulrika went on to become the Queen of Sweden.
Sophia Dorothea favored the French side in the War of the Polish Succession of 1733–36, and disliked the king's participation in the war on the Austrian side. She openly declared her view when the king swore loyalty to Austria: "I shall live to make you, who are so incredulous, believe, and prove to you how you are deceived."During the last years of the king's life, he was afflicted with fits of illness which often forced him to use a wheelchair, and Sophia Dorothea was ordered to attend to him continuously. She seldom left his room for months before his death, save to follow him in his wheelchair; she bore with his impatience, soothed his suffering, and hers was the hand which, to the last, best smoothed the pillow, and administered the potion.
In the beginning of November 1739, the king was attacked by his last illness. The queen sent for the crown prince on the night of the 26 May 1740, in consequence of a change which had taken place in the king. However, when Frederick arrived from Rheinsberg, whence he had travelled with all speed, he was astonished to find the king in his chair, in the garden; it was, however, but a momentary rally. He had a long final conversation with the Prince Royal, and took a solemn and tender leave of the Queen, his sons and daughters, and other relatives.On the day of his death, Frederick William ordered himself to be taken to the queen's apartment and told her: "Rise, I have but a few hours to live, and I would at least have the satisfaction of dying in your arms."However, the queen was led out of the room as Frederick William breathed his last in the arms of his son and successor.

Queen Dowager
On 31 May 1740, Frederick William died and was succeeded by her son, Frederick II (the Great).
The loss of a husband, who, despite his frequent harsh treatment, had been sincerely attached to her, and who was endeared by the habitual intercourse of many years, deeply affected Sophia Dorothea. When the Marchioness of Bayreuth revisited Berlin, she found her mother clad in deep mourning, and with
an air of profound dejection impressed upon her features.Sophia Dorothea had a very good relationship with her son, the new king. When she addressed him as "Your Majesty" after the funeral of his father, he interrupted her and told her: "Always call me your son, that title is dearer to me than the royal dignity." Frederick was known for his devotion to her, expressed his gratitude for her having raised him and never blamed her for his traumatic childhood, which he instead blamed on his father, and never allowed anyone to criticize her.Sophia Dorothea lost no importance as a queen dowager: wary of the great respect the king afforded his mother and his neglect of his wife, the foreign envoys and other supplicants considered attending the audience chamber and receptions as of the queen dowager as even more important than that of the queen. Until her death, he honored her as the first lady of his court and placed her before that of his wife, the queen. It was to his mother's chamber the king paid the first visit on his return from campaigns, summoning the queen to meet him there; he regularly invited his mother to his personal residence at Potsdam, where his wife was never invited, and while he seldom visited his wife, he regularly attended his mother at Monbijou, where he took off his hat and remained standing until she gave him permission to sit. Sophia Dorothea presided at the wedding of her son Prince William in 1742, and her daughter Louisa Ulrika in 1744.
The relationship between Sophia Dorothea and her daughter-in-law queen Elisabeth Christine was not good during the first years of her son's reign, as she resented her daughter-in-law's precedence in rank, though her son assured it to be merely formal, but their relationship improved during the last years of her life. Sophia Dorothea saw her son for the last time after his first campaign in January 1757 during the Seven Years' War. At that point she was well, but soon after his departure, her health rapidly declined, and she died on 28 June 1757.

Issue
Ancestors
Notes and sources
Thea Leitner: Skandal bei Hof, Ueberreuter, 1993, ISBN 3-8000-3492-1

External links
 Media related to Sophia Dorothea of Hannover at Wikimedia Commons

Portraits of Sophia Dorothea, Queen of Prussia at the National Portrait Gallery, London
Passage 9:
Therese of Saxe-Hildburghausen
Therese Charlotte Luise of Saxony-Hildburghausen (8 July 1792 –  26 October 1854) was queen of Bavaria as the wife of King Ludwig I.

Biography
Therese was a daughter of Frederick, Duke of Saxe-Altenburg, and Duchess Charlotte Georgine of Mecklenburg-Strelitz, eldest daughter of Charles II, Grand Duke of Mecklenburg-Strelitz. In 1809, she was on the list of possible brides for Napoleon, but on 12 October 1810 married the Bavarian crown prince Ludwig. Their wedding was the occasion of the first ever Oktoberfest.
She became queen in 1825. During the numerous love affairs of her husband, Therese suffered but tolerated the situation. She did not refrain, however, from demonstrating her disapproval in discreet ways; in 1831, she left town during one of his affairs, and she strictly rejected associating with the mistresses. Therese often assisted with the administration of the kingdom of Bavaria, especially when  Ludwig was absent from Munich during his numerous journeys, and she did have some political influence and participated in political issues. She was very popular and was considered to embody an ideal image of queen, wife and mother. She was involved in a great number of charitable organizations for widows, orphans and the poor. She was the object of great sympathy during her husband's infidelity with Lola Montez, which was one of many factors that contributed to his unpopularity and his abdication in 1848.

Children
Therese and Ludwig had nine children:

Maximilian (1811–1864), who married Princess Marie of Prussia (1825–1889); King of Bavaria as Maximilian II from 1848 to 1864.
Mathilde Caroline (1813–1862), who married Ludwig III, Grand Duke of Hesse and by Rhine (1806–1877).
Otto (1815–1867), who married Duchess Amalie of Oldenburg (1818–1875); King of Greece as Otto I from 1832 to 1862.
Theodelinde (1816–1817).
Luitpold (1821–1912), who married Archduchess Auguste of Austria (1825–1864); Prince Regent of Bavaria (1886–1912).
Adelgunde (1823–1914), who married Francis V, Duke of Modena (1819–1875).
Hildegard (1825–1864), who married Archduke Albert of Austria (1817–1895) Duke of Teschen.
Alexandra (1826–1875).
Adalbert (1828–1875), who married Infanta Amalia of Spain (1834–1905).

Honours
Kingdom of Bavaria : Sovereign of the Order of Saint Elizabeth

Ancestry
Passage 10:
Adolf von Heinleth
Adolf (or Adolph) Ritter von Heinleth (24 October 1823 – 26 February 1895) was a Bavarian General der Infanterie and War Minister under Ludwig II of Bavaria and under Otto of Bavaria.

Biography
Von Heinleth was born in Munich as son of a judicial counselor (Appellations-Gerichtsrat). He started his military career in the Infanterie-Leib-Regiment. After passing his company officer career, since 1858 in the rank of a Hauptmann, he became Major of the general staff in 1866. During the Franco-Prussian War he served in the rank of an Oberstleutnant, later in the rank Oberst, as chief of staff of the I Royal Bavarian Corps, which was led by General Von der Tann. After his advancement to Major General and Brigadier he stood with the occupation brigade in Metz after 1875. In 1878 he became
Chief of the General Staff of the Army, and in 1882 he became Lieutenant General and division commander, before he served as war minister from 1 May 1885 to 9 May 1890. Ritter von Heinleth withdrew for health reasons. He died in Munich, where he was buried in the Old Southern Cemetery.

Awards
Military Order of Max Joseph

Notes and references
External links
"Heinleth, Adolf von" at Wikisource. Allgemeine Deutsche Biographie (1905) (in German)


Passage 1:
Jesse E. Hobson
Jesse Edward Hobson (May 2, 1911 – November 5, 1970) was the director of SRI International from 1947 to 1955. Prior to SRI, he was the director of the Armour Research Foundation.

Early life and education
Hobson was born in Marshall, Indiana. He received bachelor's and master's degrees in electrical engineering from Purdue University and a PhD in electrical engineering from the California Institute of Technology. Hobson was also selected as a nationally outstanding engineer.Hobson married Jessie Eugertha Bell on March 26, 1939, and they had five children.

Career
Awards and memberships
Hobson was named an IEEE Fellow in 1948.
Passage 2:
Bobby Coleman
Robert Moorhouse "Bobby" Coleman III (born May 5, 1997) is an American actor.  He is best known for his roles as a child actor in the films Martian Child (2007), as the title character, and The Last Song (2010).

Life and career
Robert Coleman was born in Los Angeles, California, the son of Doris Berg and Robert Moorhouse Coleman Jr. He is the younger brother of actress Holliston Coleman, and lives with his family in the Los Angeles area.
Coleman began acting at the age of five in commercials, and has since appeared in several film and television productions. He had brief appearances in a number of series such as Medium and JAG, before moving into film roles. He appeared in the feature films Must Love Dogs and Friends with Money, and also had a recurring role in the television series Surface, before taking leading roles in the films Glass House: The Good Mother and Take. He played the title lead role in the film Martian Child, his second role alongside John Cusack and is set to appear with his sister in Proving Ground: From the Adventures of Captain Redlocks, in which he will play the younger brother of his real-life sister. They are both set to star together again in the science-fiction adventure film, Robosapien: Rebooted. He appeared in the 2010 film The Last Song as Jonah Miller, the younger brother of Miley Cyrus's character.

Filmography
Awards
2008 Young Artist Award
Best Performance in a Feature Film - Young Actor Age Ten or Younger for Martian Child — Nominated
Passage 3:
Martian Child
Martian Child is a 2007 American comedy-drama film directed by Menno Meyjes and based on David Gerrold's 1994 novelette (not the expanded 2002 novel) of the same name. The film stars John Cusack as a writer who adopts a strange young boy (Bobby Coleman) who believes himself to be from Mars. The film was theatrically released on November 2, 2007, by New Line Cinema.

Plot
David Gordon, a popular science fiction author, widowed two years prior as they were trying to adopt a child, is finally matched with a young boy, Dennis. Initially hesitant to adopt alone, he is drawn to him, seeing aspects of himself in him.
Believing he is from Mars, Dennis protects himself from the sun's harmful rays, wears weights to counter Earth's weak gravity, eats only Lucky Charms, and hangs upside down to facilitate circulation. He refers often to his mission to study Earth and its people, taking pictures, taking things to catalog, and spending time consulting an ambiguous toy-like device with flashing lights that produces seemingly unintelligible words.
Once David decides to adopt Dennis, he spends time getting to know him, patiently coaxing him out of the large cardboard box he hides in. Soon, David is cleared to take Dennis home and meet David's dog, "Somewhere." In Dennis's bedroom is a projector of the solar system that he pronounces inaccurate. With the help of his friend Harlee and sister Liz, David tries to help Dennis overcome his delusion by both indulging it and encouraging him to act like everyone else. Dennis attends school but is quickly expelled for repeatedly 'stealing' items for his collection. Frustrated, David tells Liz that perhaps Dennis is from Mars.
Meanwhile, David's literary agent, Jeff, pushes him to finish writing his commissioned sequel, which is due soon. He struggles to make time for writing, regularly pulled away from it to deal with Dennis. While sitting down to write, the flash from Dennis's Polaroid camera catches him off-guard and he accidentally breaks some glass. David picks Dennis up and carries him across the room. Upset by David's abrupt action, the boy fears he is going to be sent away. David explains that he was just worried he'd get cut by the glass and that he loves him more than his material possessions. Assuring him that he will never send him away, he encourages Dennis to break more things. They move to the kitchen and break dishes and then spray ketchup and dish detergent at each other. Lefkowitz, from Social Services, appears in the window and sees the mayhem. He rebukes David, setting up a case review.
David encourages Dennis to be from Mars only at home; though he must be from Earth everywhere else. Passing his interview by saying he was pretending, he stays with David. Now his adoptive father, he insists Dennis acknowledge being from Earth, making him hurt and angry. David leaves him with Liz to attend the reveal of his new book, supposedly a sequel. He confesses to Tina, the publisher, that rather than being a sequel, it is a new book titled Martian Child, about Dennis. In her fury, Tina makes a scene, but takes the manuscript as David leaves to be with Dennis.
Meanwhile, Dennis has left the house with his suitcase of earthly artifacts. When David arrives home, he finds the police and learns the boy is gone, he remembers the place he'd said he was found. David asks Harlee to drive him to the location, where they spot Dennis high up on the outside ledge of the museum's domed roof. David climbs up to him as the police and Liz arrive. Dennis points out a bright searchlight in a nearby cloud as someone coming to take him home, but David assures him it's just a helicopter. David professes his love for Dennis and asserts he will never ever leave him. Eventually Dennis trusts David and they hug.
David's voiceover tells about the parallel of children who come into our world, struggling to understand it, being like little aliens. As Tina reads the manuscript aboard an airplane, she begins to cry.

Cast
In addition, Anjelica Huston plays Tina, David's publisher.

Production
Despite persistent misperceptions, this film is not based on David Gerrold's 2002 semi-autobiographical novel The Martian Child, (although it shares some of the same incidents) but rather is based on his 1994 fictional Hugo and Nebula Award-winning novella of the same name, which has caused much confusion about the source material, especially for Gerrold's fans in segments of the gay community.  The short story does not specify the protagonist's sexual orientation.  Only when, years later, Gerrold rewrote and expanded his story to novella length did he choose to include his sexuality. While Gerrold had, in real life, adopted a son as an openly gay man, in the film the protagonist is straight and has a female love interest. Because of the confusion surrounding the different publication dates of the original short story and the latter novella, some members of the gay community have criticized the lead role in the film being portrayed as straight, even though the main character in the short story was never identified as gay. Gerrold has expressed disappointment that the producers forced the protagonist to be changed from a gay man to a straight widower but felt it was a worthwhile trade-off to get published a story about a child in a group home needing a parent.The film began shooting in Vancouver on May 2, 2005, and completed filming in July 2005, with the studio repeatedly pushing back the release date. Jerry Zucker was hired to direct uncredited reshoots shortly before the film's release.

Release
Box office
Martian Child opened in 2,020 venues on November 2, 2007 and earned $3,376,669 in its first weekend, ranking seventh in the domestic box office and third among the weekend's new releases. The film closed six weeks later on December 13, having grossed $7,500,310 domestically and $1,851,434 overseas, totaling $9,351,744 worldwide.

Critical reception
The film received mixed reviews from critics. On Rotten Tomatoes, the film has a 33% score, based on 106 reviews, with an average rating of 5/10. The site's consensus states: "Despite some charms, overt emotional manipulation and an inconsistent tone prevents Martian Child from being the heartfelt dramedy it aspires to be." Metacritic reports a 48 out of 100 rating, based on 26 critics, indicating "mixed or average reviews".

Home media
Martian Child was released on DVD on February 12, 2008. It opened at #20 the DVD sales chart, selling 69,000 units for revenue of $1.3 million. As per the latest figures, 400,000 DVD units have been sold, acquiring revenue of $7,613,945. This does not include DVD rentals/Blu-ray sales.  The film is available on Netflix streaming.

Awards
Passage 4:
Brian Kennedy (gallery director)
Brian 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.

Career
Brian 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.

Early life and career in Ireland
Kennedy 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.
He 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.

National Gallery of Australia (NGA)
Kennedy 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.
During 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).
Kennedy'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.

Toledo Museum of Art
The 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.
Kennedy 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.

Hood Museum of Art
Kennedy 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.

Publications
Kennedy has written or edited a number of books on art, including:

Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9
Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7
Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0
The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4
Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3
Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7
Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3
Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8

Honors and achievements
Kennedy 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.

== Notes ==
Passage 5:
Ian Barry (director)
Ian Barry is an Australian director of film and TV.

Select credits
Waiting for Lucas (1973) (short)
Stone (1974) (editor only)
The Chain Reaction (1980)
Whose Baby? (1986) (mini-series)
Minnamurra (1989)
Bodysurfer (1989) (mini-series)
Ring of Scorpio (1990) (mini-series)
Crimebroker (1993)
Inferno (1998) (TV movie)
Miss Lettie and Me (2002) (TV movie)
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)
The Doctor Blake Mysteries (2013)
Passage 6:
Peter Levin
Peter Levin is an American director of film, television and theatre.

Career
Since 1967, Levin has amassed a large number of credits directing episodic television and television films. Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy.Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films. He directed "Heart in Hiding", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s.
Prior to becoming a director, Levin worked as an actor in several Broadway productions. He costarred with Susan Strasberg in "[The Diary of Ann Frank]" but had to leave the production when he was drafted into the Army. He trained at the Carnegie Mellon University. Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company. He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company.
Passage 7:
Marcus Child (field hockey)
Marcus "Marky" Andrew Law Child (born 2 March 1991) is a retired New Zealand field hockey player, who played as a midfielder or forward for the New Zealand national team.

Personal life
Marcus Child was born and raised in Auckland, New Zealand. He has an older brother, Simon, who also plays representative hockey for New Zealand.

Career
Child started playing hockey when he was four years old. He plays for Auckland in the New Zealand Hockey League. In the 2018–19 season he played for Pinoké in the Dutch Hoofdklasse.Child made his senior international debut for the Black Sticks in 2010. Since his debut, he has been a regular inclusion in the side. In 2018, he was a silver medallist at the Commonwealth Games held in Gold Coast, Australia. In December 2020 he announced his retirement from the national team.
Passage 8:
S. N. Mathur
S.N. Mathur was the Director of the Indian Intelligence Bureau between September 1975 and February 1980. He was also the Director General of Police in Punjab.
Passage 9:
Menno Meyjes
Menno Meyjes (born 1954, Eindhoven) is a Dutch-born American screenwriter, film director, and film producer.Meyjes moved to the United States in 1972 and studied at San Francisco Art Institute. He was nominated for several awards for his screenplay to the 1985 film The Color Purple, adapted from the novel by Alice Walker. In 1989, he gained recognition for cowriting Indiana Jones and the Last Crusade with George Lucas and winning a Goya Award for El Sueño del mono loco.
In 2002, Meyjes wrote and directed the film Max.He attended the San Francisco Art Institute, where he studied with George Kuchar, James Broughton, and Larry Jordan.

Filmography
Uncredited written works:

Empire of the Sun (1987)
El Sueño del mono loco (1989)
Passage 10:
Olav Aaraas
Olav Aaraas (born 10 July 1950) is a Norwegian historian and museum director.
He was born in Fredrikstad. From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History. In 2010 he was decorated with the Royal Norwegian Order of St. Olav.