Passage 1:
Scotty Fox
Scott Fox is a pornographic film director who is a member of the AVN Hall of Fame.

Awards
1992 AVN Award – Best Director, Video (The Cockateer)
1995 AVN Hall of Fame inductee
Passage 2:
Riccardo Freda
Riccardo Freda (24 February 1909 – 20 December 1999) was an Italian film director. He worked in a variety of genres, including sword-and-sandal, horror, giallo and spy films.Freda began directing I Vampiri in 1956. The film became the first Italian sound horror film production.

Biography
Riccardo Freda was born in 1909 in Alexandria, Egypt to Italian parents. Freda attended school in Milan where he took art classes at the Centro Sperimantale. After school he took on work as a sculptor and art critic.

Film career
Freda first began working in the film industry in 1937 and directed his first film Don Cesare di Bazan in 1942. Freda began directing I Vampiri. I Vampiri was the first Italian horror film of the sound era, following the lone silent horror film Il mostro di Frankenstein (1920)  Despite being the first, a wave of Italian horror productions did not follow until Mario Bava's film Black Sunday was released internationally.Freda died on 20 December 1999 in Rome.

Filmography
Notes
^  a Freda has denied having taken part in writing the script for this film, despite being credited.
^  b Freda was originally to direct the film but stated that he walked off the set on the first day of shooting.
^  c Freda name is not in the credits but some sources state he directed several battles scenes in the film, which Freda denies.
^  d Freda name is not in the credits but some sources state he edited the naval battle scenes in the film, which Freda denies.
^  e Freda has claimed to have shot the entire film.
Passage 3:
Oh Sailor Behave
Oh, Sailor, Behave! is a 1930 American Pre-Code musical comedy film produced and released by Warner Brothers, and based on the play See Naples and Die, written by Elmer Rice. The film was originally intended to be entirely in Technicolor and was advertised as such in movie trade journals. Due to the backlash against musicals, it was apparently released in black-and-white only.

Plot
An American newspaper reporter named Charlie Carroll (Charles King) is sent to Venice to interview a Romanian general, who is played by Noah Beery. While in Venice Charlie falls for a young heiress named Nanette Dodge (Irene Delroy). When Charlie is unable to get an interview with the Romanian general, a local siren named Kunegundi (Vivien Oakland), who is the general's favorite helps him. Meanwhile, Nanette learns that her sister is being blackmailed by Prince Kasloff of Russia (Lowell Sherman), to whom she wrote some incriminating letters. Nanette attempts to vamp the Prince in order to obtain the love letters. The Prince, however, tricks her and demands that Nanette marry him if she wants to save her sister. After being repeatedly rebuked by Nanette, the prince hires the Romanian general (Noah Beery) to kidnap her and force her into  marriage. Charlie, thinking she has eloped, consoles himself with Kunegundi (Vivien Oakland) and almost marries her until he realizes the truth about Nanette and that she has been kidnapped by the Prince. Charlie sets out to rescue her and when the Prince shows up disguised as the general he shoots Prince Kasloff. Charlie and Nanette are happily reunited.
Ole Olsen and Chic Johnson provide comic relief that is completely unrelated to the main story. They play the part of two American sailors stationed in Naples who attempt to find a wooden-legged thief who has robbed the navy storehouse in Venice. Louisa, a local siren (played by Lotti Loder) leads them on and embroils them in trouble.

Music
"When Love Comes In The Moonlight"
"Leave A Little Smile"
"Highway to Heaven"
"The Laughing Song"
"Tell Us Which One Do You Love"

Production background
Charles King recorded three songs for the film for Brunswick Records: Brunswick 4840 (Highway to Heaven/When Love Comes in the Moonlight); Brunswick 4849 (Leave A Little Smile). The other side of Brunswick 4849 featured a song from the aborted MGM revue The March of Time (1930).
This was to be Charles King's last musical movie. He went back to the Broadway stage, since movie audiences had grown tired of musicals, and never returned to the screen.
Due to the public apathy towards musicals, Warner Bros. did not debut this film in the usual prestigious movie theaters. The film was immediately  placed in general release with no fanfare.
Comedians Olsen and Johnson were added to the film due to growing public apathy towards serious stage actors such as King and Delroy. The movie was marketed as a comedy film with these comics billed as "America's funniest clowns".

Preservation
The version of the film released in the United States, late in 1930, survives intact. A print is at the Museum of Modern Art, and is in the Turner Classic Movies film library as well as the Library of Congress. The complete soundtrack also survives on Vitaphone disks. The film was released on DVD through the Warner Archive Collection in 2014.
Passage 4:
See Naples and Die
See Naples and Die (Italian: Vedi Napoli e poi muori) is a 1952 Italian crime-melodrama film directed by Riccardo Freda.

Plot
Drug dealer Sanesi is trying to get her old friend Marisa to have her husband, a senior bank official, sing. But the official becomes convinced that Marisa is cheating on him with Sanesi and throws his wife out of the house. In order to prevent the situation from deteriorating, Marisa decides to assassinate Sanesi. A murder trial then opens against Marisa. Her acquittal in self-defense will lead Marisa and her husband to reconciliation.

Cast
Gianna Maria Canale: Marisa
Renato Baldini: Giacomo Marini
Vittorio Sanipoli: Roberto Sanesi
Franca Marzi: Lover of Senesi
Carletto Sposito
Claudio Villa

Production
Following the success of his previous film La vendetta di Aquila Nera, Riccardo Freda directed his next film produced by Umberto Momi and Carlo Caiano through their company Associati Produttori Indipendenti (A.P.I.). Freda claimed he shot the film within 15 days, with three on location in Naples and the rest in Rome at CSC studios.The film marked the first collaboration between Freda and his longtime director of photography, Gábor Pogány. Freda commented on his collaboration with his Hungarian cinematographer, stating that "It is quite astonishing, but it was the Hungarians and the Czechs who revolutionized cinematography in Italy. Stallich, Vich and Pogany. They reinvented the use of lighting on sets... This trio remained famous in Italy the name of 'Hungarian school'".

Release
See Naples and Die was distributed theatrically in Italy by Associati Produttori Indipendenti on March 29, 1952. The film grossed a total of 381,384,000 Italian lire domestically in Italy.  The film was released in the United States as See Naples and Die in 1959 where it was released subtitled and distributed by Crown Pictures.

Reception
Italian critic and film historian Roberto Curti stated that Italian critics "generally panned the film". On its release in the United States, the New York Times stated the film had a "sodden script" and that "Gianna Maria Canale, as that pretty, luckless lady, is involved  in nearly every cliche dear to the devotees of daytime detergent dramas on radio, but unsmilingly she comes through [...] There are English titles but even without them it is fairly clear that sad is the word for the manufactured tragedies in See Naples and Die."

See also
List of Italian films of 1952
Passage 5:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director.
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)
Passage 6:
Season of Strangers
Season of Strangers (sometimes referred as haiku film) is 1959 unfinished American 16 mm black and white Avant-garde-experimental short film directed by Maya Deren.

Production
The film began as a part of Deren's workshop which took place in Woodstock, New York, during July 6 to July 25 in 1959. Deren after claimed that the location was important for the structure of the film. Also the lyrical aspect of Japanese Haiku motivated the fim as well.
Passage 7:
Maya Deren
Maya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́ра Деренко́вська; May 12 [O.S. April 29] 1917 – October 13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer.
The function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual, black-and-white short films. Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims.Meshes of the Afternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinema history. Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman.

Early life
Deren was born May 12 [O.S. April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, to psychologist Solomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse.In 1922, the family fled the Ukrainian SSR because of antisemitic pogroms perpetrated by the White Volunteer Army and moved to Syracuse, New York. Her father shortened the family name from Derenkovskaya to "Deren" shortly after they arrived in New York. He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse. Deren's mother was a musician and dancer who had studied these arts in Kyiv. In 1928, Deren's parents became naturalized citizens of the United States.Deren was highly intelligent, starting fifth grade at only eight years old. She attended the League of Nations International School of Geneva, Switzerland for high school from 1930 to 1933. Her mother moved to Paris, France to be nearer to her while she studied. Deren learned to speak French while she was abroad.Deren enrolled at Syracuse University at sixteen, where she began studying journalism and political science. Deren became a highly active socialist activist during the Trotskyist movement in her late teens. She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University.
At age eighteen in June 1935, she married Gregory Bardacke, a socialist activist whom she met through the Social Problems Club. After his graduation in 1935, she moved to New York City. She finished school at New York University with a Bachelor's degree in literature in June 1936, and returned to Syracuse that fall. She and Bardacke became active in various socialist causes in New York City; and it was during this time that they separated and eventually divorced three years later.In 1938, Deren attended the New School for Social Research, and received a master's degree in English literature at Smith College. Her Master's thesis was titled The Influence of the French Symbolist School on Anglo-American Poetry (1939). This included works of Pound, Eliot, and the Imagists. By the age of 21, Deren had earned two degrees in literature.

Early career
After graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European émigré art scene. She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers. During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook. She wrote poetry and short fiction, tried her hand at writing a commercial novel, and also translated a work by Victor Serge which was never published. She became known for her European-style handmade clothes, wild red curly hair and fierce convictions.In 1940, Deren moved to Los Angeles to focus on her poetry and freelance photography. In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; she later became Dunham's assistant and publicist. Deren travelled with the troupe for a year, learning greater appreciation for dance, as well as interest and appreciation for Haitian culture. Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology. At the end of touring a new musical Cabin in the Sky, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood. It was there that Deren met Alexandr Hackenschmied (who later changed his name to Alexander Hammid), a celebrated Czech-born photographer and cameraman who would become Deren's second husband in 1942. Hackenschmied had fled from Czechoslovakia in 1938 after the Sudetenland crisis.
Deren and Hammid lived together in Laurel Canyon, where he helped her with her still photography which focused on local fruit pickers in Los Angeles. Of two still photography magazine assignments of 1943 to depict artists active in New York City,  including Ossip Zadkine, her photographs appeared in the Vogue magazine article. The other article intended for Mademoiselle magazine was not published, but three signed enlargements of photographs intended for this article, all depicting Deren's friend New York ceramist Carol Janeway, are preserved in the MoMA and the Philadelphia Museum of Art. All prints were from Janeway's estate.

Personal life
In 1943, she moved to a bungalow on Kings Road in Hollywood and adopted the name Maya, a pet name her second husband Hammid coined. Maya is the name of the mother of the historical Buddha as well as the dharmic concept of the illusory nature of reality. In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields.
In 1944, back in New York City, her social circle included Marcel Duchamp, André Breton, John Cage, and Anaïs Nin.In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film.
In the December 1946 issue of Esquire magazine, a caption for her photograph teased that she "experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic." Her third husband, Teiji Itō, said: "Maya was always a Russian. In Haiti she was a Russian. She was always dressed up, talking, speaking many languages and being a Russian."

Film career
Deren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring.As Sarah Keller states, “Maya Deren lays claim to the honor of being one of the most important pioneers of the American film avant-garde with a scant seventy-five or so minutes of finished films to her credit.”Deren began to screen and distribute her films in the United States, Canada, and Cuba, lecturing and writing on avant-garde film theory, and additionally on Vodou. In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showed Meshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945). The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society of the 1950s.In 1946, she was awarded a Guggenheim Fellowship for "Creative Work in the Field of Motion Pictures", and in 1947, won the Grand Prix International for avant-garde film at the Cannes Film Festival for Meshes of the Afternoon. She then created a scholarship for experimental filmmakers, the Creative Film Foundation.Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night.
Deren's background and interest in dance appears in her work, most notably in the short film A Study in Choreography for Camera (1945). This combination of dance and film has often been referred to as "choreocinema", a term first coined by American dance critic John Martin.In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon. This is thought to be inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states. She also regularly explored themes of gender identity,  incorporating elements of introspection and mythology. Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time, though Mulvey later would give Deren this recognition, since their works were often in conversation with each other.

Major films
Meshes of the Afternoon (1943)
In 1943, Deren purchased a used 16mm Bolex camera with some of the inheritance money after her father's death from a heart attack. This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250. Meshes of the Afternoon is recognized as a seminal American avant-garde film. It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about woman as subject rather than as object. Originally a silent film with no dialogue, music for the film was composed, long after its initial screenings, by Deren's third husband Teiji Itō in 1952. The film can be described as an expressionistic "trance film", full of dramatic angles and innovative editing. It investigates the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations. A woman, played by Maya Deren, walks up to a house in Los Angeles, falls asleep and seems to have a dream. The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house. Movement from the wind, shadows and the music sustain the heartbeat of the dream. Recurring symbols include a cloaked figure, mirrors, a key, and a knife.
The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities. The camera initially does not show her face, which precludes identification with a particular woman, which creates a universalizing, totalizing effect- as it is easier to relate to an unknown, faceless woman. Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs. This kind of Freudian interpretation, which she disagreed with, led Deren to add sound, composed by Teiji Itō, to the film.
Another interpretation is that each film is an example of a "personal film". Her first film, Meshes of the Afternoon, explores a woman's subjectivity and relation to the external world. Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U.S.A." In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum "the personal is political" is foregrounded. As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film. Following a dreamlike quest with allegorical complexity, Meshes of the Afternoon has an enigmatic structure and a loose affinity with both film noir and domestic melodrama. The film is famous for how it resonated with Deren's own life and anxieties. According to a review in The Moving Image, "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory. The first of these trajectories is Deren's interest in socialism during her youth and university years".

Director's notes
There is no concrete information about the conception of Meshes of the Afternoon beyond that Deren offered the poetic ideas and Hammid was able to turn them into visuals, as she envisioned them. Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces. According to the earliest program note, she describes Meshes of the Afternoon as follows:

This film is concerned with the interior experiences of an individual. It does not record an event which could be witnessed by other persons. Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience.

At Land (1944)
Deren filmed At Land in Port Jefferson and Amagansett, New York in the summer of 1944. Taking on more of an environmental psychologist's perspective, Deren "externalizes the hidden dynamic of the external world...as if I had moved from a concern with the life of the fish, to a concern with the sea which accounts for the character of the fish and its life." Maya Deren washes up on the shore of the beach, and climbs up a piece of driftwood that leads to a room lit by chandeliers, and one long table filled with men and women smoking. She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff. She shrinks in the wide frame as she walks farther away from the camera, up and down sand dunes, then frantically collecting rocks back on the shore. Her expression seems confused when she sees two women playing chess in the sand. She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene. Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments. This is one of Deren's films in which the focus is on the character's exploration of her own subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films.

A Study in Choreography for Camera (1945)
In the spring of 1945 she made A Study in Choreography for Camera, which Deren said was "an effort to isolate and celebrate the principle of the power of movement." The compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film. Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space. "For Deren, no transition is needed between a place outside (such as a forest, or a park, or the beach) and an interior room. One action can be performed across different physical spaces, as in A Study in Choreography For Camera (1945), and in this way sews together layers of reality, thereby suggesting continuity between different levels of consciousness."At just under 3 minutes long, A Study in Choreography for Camera is a fragment depicting a carefully constructed exploration of a man who dances in a forest, and then seems to teleport to the inside of a house because of how continuous his movements are from one place to the next. The edit is broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted. The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space. It shows a progression from nature to the confines of society, and back to nature. The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world. Deren and Beatty met through Katherine Dunham, while Deren was her assistant and Beatty was a dancer in her company. It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence. The film is also subtitled 'Pas de Deux', a dance term referring to a dance between two people, or in this case, a collaboration between Deren and Beatty.A Study in Choreography for Camera was one of the first experimental dance films to be featured in the New York Times as well as Dance Magazine.

Ritual in Transfigured Time (1946)
By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole. Ritual in Transfigured Time began in August and was completed in 1946. It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change. The main roles were played by Deren herself and the dancers Rita Christiani and Frank Westbrook.

Meditation on Violence (1948)
Deren's Meditation on Violence was made in 1948. Chao-Li Chi's performance obscures the distinction between violence and beauty. It was an attempt to "abstract the principle of ongoing metamorphosis", found in Ritual in Transfigured Time, though Deren felt it was not as successful in the clarity of that idea, brought down by its philosophical weight. Halfway through the film, the sequence is rewound, producing a film loop.

Criticism of Hollywood
Throughout the 1940s and 1950s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema. She stated, "I make my pictures for what Hollywood spends on lipstick," criticizing the amount of money spent on production. She also observed that Hollywood "has been a major obstacle to the definition and development of motion pictures as a creative fine-art form." She set herself in opposition to the Hollywood film industry's standards and practices.
Deren talks about the freedoms of independent cinema:

Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words...to the relentless activity and explanations of a plot...nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes...Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.

Haiti and Voudoun
When Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist. She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film. In September, she divorced Hammid and left for a nine-month stay in Haiti. The Guggenheim Fellowship grant in 1946 enabled Deren to finance her travel and film footage for what would posthumously become  Meditation on Violence. She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou.
A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited. While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti. Exposure to these documents led her to write her 1942 essay titled, "Religious Possession in Dancing." Afterwards, Deren wrote several articles on religious possession in dancing before her first trip to Haiti. Deren filmed, recorded and photographed many hours of Vodou ritual, but she also participated in the ceremonies. She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject. She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality. In her book An Anagram of Ideas on Art, Form, and Film she wrote:

The ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole. The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality. He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning.
Deren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera. The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji Itō (1935–1982), and his wife Cherel Winett Itō (1947–1999). All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University. The film footage is housed at Anthology Film Archives in New York City.
An LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti. The cover art for the album was by Teiji Itō.Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen, and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because "Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities."In her book of the same name Deren uses the spelling Voudoun, explaining: "Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation. Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words). Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation." In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary draws attention to the similar French word, Vaudoux.

Death
Deren died in 1961, at the age of 44, from a brain hemorrhage brought on by extreme malnutrition. Her condition may have also been weakened by her long-term dependence on amphetamines and sleeping pills prescribed by Max Jacobson, a doctor and member of the arts scene, notorious for his liberal prescription of drugs, who later became famous as one of President John F. Kennedy's physicians.
Her ashes were scattered in Japan at Mount Fuji.

Legacy
Deren was a muse and inspiration to such up-and-coming avant-garde filmmakers as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit. Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich. In his review for renowned experimental filmmaker David Lynch's Inland Empire, writer Jim Emerson compares the work to Meshes of the Afternoon, apparently a favorite of Lynch's.Deren was a key figure in the creation of a New American Cinema, highlighting personal, experimental, underground film. In 1986, the American Film Institute created the Maya Deren Award to honor independent filmmakers.
The Legend of Maya Deren, Vol. 1 Part 2 consists of hundreds of documents, interviews, oral histories, letters, and autobiographical memoirs.Works about Deren and her works have been produced in various media:

Deren appears as a character in the long narrative poem The Changing Light at Sandover (1976-1980) by her friend James Merrill.
In 1987, Jo Ann Kaplan directed a biographical documentary about Deren, titled Invocation: Maya Deren (65 min)
In 1994, the UK-based Horse and Bamboo Theatre created and toured Dance of White Darkness throughout Europe—the story of Deren's visits to Haiti.
In 2002, Martina Kudlacek directed a feature-length documentary about Deren, titled In the Mirror of Maya Deren (Im Spiegel der Maya Deren), which featured music by John Zorn.Deren's films have also been shown with newly written alternative soundtracks:

In 2004, the British rock group Subterraneans produced new soundtracks for six of Deren's short films as part of a commission from Queen's University Belfast's annual film festival. At Land won the festival prize for sound design.
In 2008, the Portuguese rock group Mão Morta produced new soundtracks for four of Deren's short films as part of a commission from Curtas Vila do Conde's annual film festival.

Awards and honors
Guggenheim Fellowship 1946
Grand Prix Internationale for Amateur Film
Creative Work in Motion Pictures (1947)
Cannes Film Festival (1947)

Filmography
Discography
Vinyl LPs
Written works
Deren was also an important film theorist.

Her most widely read essay on film theory is probably An Anagram of Ideas on Art, Form and Film, Deren's seminal treatise that laid the groundwork for many of her ideas on film as an art form (Yonkers, NY: Alicat Book Shop Press, 1946).
Her collected essays were published in 2005 and arranged in three sections:Film Poetics, including: Amateur versus Professional, Cinema as an Art Form, An Anagram of Ideas on Art, Form and Film, Cinematography: The Creative Use of Reality
Film Production, including: Creating Movies with a New Dimension: Time, Creative Cutting, Planning by Eye, Adventures in Creative Film-Making
Film in Medias Res, including: A Letter, Magic is New, New Directions in Film Art, Choreography for the Camera, Ritual in Transfigured Time, Meditation on Violence, The Very Eye of Night.Divine Horsemen: Living Gods of Haiti was published in 1953 by Vanguard Press (New York City) and Thames & Hudson (London), republished under the title of The Voodoo Gods by Paladin in 1975, and again under its original title by McPherson & Company in 1998.

See also
List of Guggenheim Fellowships awarded in 1946
Women's cinema
Passage 8:
Carlo, Duke of Calabria
Carlo of Naples and Sicily (Italian: Carlo Tito Francesco Giuseppe; 4 January 1775 – 17 December 1778) was Duke of Calabria as heir to Naples and Sicily.

Biography
Born at the Caserta Palace near Naples, he was known as the Duke of Calabria at birth as the heir apparent to his father's throne. His mother was a daughter of Empress Maria Theresa and thus sister of Marie Antoinette.
A member of the House of Bourbon, he was a prince of Naples and Sicily by birth. He was the hereditary prince of Naples. His birth allowed his mother to have a place in the Council of State, pursuant to his parents' marriage contract.
Carlo died of smallpox aged 3. Six of his younger siblings would die of smallpox also: Princess Maria Anna (in 1780), Prince Giuseppe (in 1783), Prince Gennaro (in 1789), Prince Carlo Gennaro (also in 1789), Princess Maria Clotilde (in 1792) and Princess Maria Enricheta (also in 1792).
He was buried at the Church of Santa Chiara in Naples.
Passage 9:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.
While Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.
He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.
In 1990, he was awarded the DGA Honorary Life Member Award.

Personal life
Silverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.
He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr. Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)
Passage 10:
Princess Maria Isabella of Naples and Sicily
Princess Maria Isabella of Naples and Sicily (2 December 1793 – 23 April 1801) was a member of the House of Bourbon. She was the youngest child and daughter of Ferdinand I of the Two Sicilies and his wife, Maria Carolina.

Biography
Maria Isabella was born in Naples, and was named after her paternal aunt Maria Isabel Ana, who died at the age of six in 1749. Her father was Ferdinand, Duke of Calabria, the third son and ninth child of King Charles III of Spain and Queen Maria Amalia of Saxony. Her mother was Maria Carolina, Archduchess of Austria, the tenth daughter and thirteenth child of the famous Empress Maria Theresa and her husband, Francis I, Holy Roman Emperor. Through her mother she was a niece of Marie Antoinette, and also through her mother she was a niece of Maria Luisa of Spain and Charles IV of Spain.
Her brothers included the future King Francis and Leopold, Prince of Salerno. Another brother, Carlo, Duke of Calabria, died in 1778 aged 3 of smallpox. Her older sisters included Princess Maria Theresa, namesake of her grandmother, and Princess Luisa, future Grand Duchess of Tuscany. Her older sister Princess Maria Cristina was the wife of the future Charles Felix of Sardinia as Queen of Sardinia. Another sister, Princess Maria Cristina Amelia, died in 1783 of smallpox. Another sister was the Queen of the French as the wife of Louis Philippe I and the youngest was the future Princess of Asturias.
Maria Isabelle died on 23 April 1801, at the age of seven. She was buried at the Church of Santa Chiara in Naples.

Ancestry


Passage 1:
Jane Wigham
Jane Wigham (née Smeal; 1801–1888) was a leading Scottish abolitionist, and was the secretary of the Glasgow Ladies' Emancipation Society.

Life
Smeal was born in Glasgow in 1801, the sister of William Smeal. She was educated as a Quaker at Ackworth School in Yorkshire. The family resided in Edinburgh, later moving to Aberdeen. As Quakers, Smeal's family were unusual in Scotland. The 1851 census shows that there were fewer than 400 active Scottish Quakers at the time.Smeal became the leader and secretary of the radical Glasgow Ladies Emancipation Society. Her brother William in 1822 founded the Glasgow Anti-Slavery Society, a forerunner of the Glasgow Emancipation Society, and was later active in the latter. Smeal had a record of anti-slavery activity, long before the Free Church became involved in the issue.
In 1838 she published an important pamphlet with Elizabeth Pease of Darlington titled Address to the Women of Great Britain. This document called for British women to speak in public and to form anti-slavery organisations for women. An address that Smeal prepared for Queen Victoria has been credited with being the "final blow" that ended slavery in the Caribbean.In 1840 Smeal became the second wife of the Quaker John Wigham, who was a tea merchant and active abolitionist in Glasgow. In 1830, Wigham's wife and two of their children died however the family was revitalized when he married Smeal. Jane Smeal became Jane Wigham and she formed a close friendship and collaboration with her stepdaughter, Eliza Wigham. Smeal and Wigham's marriage took place in the same year as the World's Anti-Slavery Convention in London, where Eliza was one of the delegates.After the Ladies' Emancipation Society ceased activity, Jane and Eliza, along with some of their friends, set up the Edinburgh chapter of the National Society of Women's Suffrage. Priscilla Bright McLaren, the president, Elizabeth Pease, the treasurer, and McLaren's daughter Agnes McLaren joined Eliza as joint secretaries. Despite a lack of support from her husband John, Jane and her stepdaughter established the Edinburgh society as one of the leading British groups supporting the controversial views of the American abolitionist and social reformer William Lloyd Garrison.John Wigham died in 1864 and Eliza remained on at the family home on South Gray Street in Edinburgh to care for her stepmother. Jane died in November 1888 after a prolonged illness.

Legacy
Four of the women associated with Edinburgh in the 19th century were the subject of a campaign by Edinburgh historians in 2015. The group aimed to gain recognition for Elizabeth Pease Nichol, Priscilla Bright McLaren, Eliza Wigham, and Jane Smeal – the city's "forgotten heroines".
Passage 2:
Angelo I Gozzadini
Angelo I Gozzadini (died between 1468 and 1476) was Lord of Kythnos.
He married in 1429 Caterina Crispo (born 1415, date of death unknown), daughter of Nicholas Crispo, Lord of Syros and sister of Francesco II, sixteenth Duke of the Archipelago.
Passage 3:
May Green Hinckley
May Green Hinckley (May 1, 1881 – May 2, 1943) was the third Primary general president of the Church of Jesus Christ of Latter-day Saints (LDS Church) from 1940 until her death. She was the stepmother of Gordon B. Hinckley, fifteenth president of the LDS Church.

Biography
Green was born in Brampton, Derbyshire, England. Her mother had joined the LDS Church three years before Green's birth, but her father never joined. She emigrated to the United States with her mother and some of her siblings in 1889. Green was baptized into the LDS Church in 1891, and was by then living in Salt Lake City.Green was raised in the church's Salt Lake 5th Ward. Early on she was a teacher in both the Sunday School and the Young Women Mutual Improvement Association (YWMIA). She served as a missionary for the church in the Central States Mission from 1907 to 1909.
After studying booking and accounting, Green began work as business manager for a Salt Lake medical clinic.In 1920, Green was made president of the YLMIA of the Granite Stake in Salt Lake City. She served in this position for the next 12 years, and oversaw the initial establishment of the Gleaner program.In 1932, at the age of 50, Green married Bryant S. Hinckley, whose wife, Ada, had died in 1930. At the time, five of Hinckley's 13 children were still living at home. At that time, Green was president of the stake YWMIA. One of the children, Gordon B. Hinckley, later recalled that he and the other children were upset by their father's decision to remarry, but they eventually came to accept their stepmother: "I don't know that it was easy for her to step into our family, but she did it well. We all respected her. We all loved her". In 1935, when Bryant Hinckley became president of the Northern States Mission based in Chicago, May Hinckley went with him and presided over the Primary Association, YWMIA, and Relief Society within the mission.
In 1940, May Hinckley was asked by church president Heber J. Grant to succeed May Anderson and become the third general president of the church's Primary Association. In her 3+1⁄2-year tenure, Hinckley introduced a revised curriculum, added a scripture-reading program for leaders and teachers, established a formal scriptural theme for Primary, and selected the official Primary logo, motto and colors.
Hinckley formed a committee that created lessons for use by Primaries in missions (as opposed to stakes). With energy rationing as a result of World War II, she oversaw the creation of more home-based Primary programs.Hinckley was the editor of The Children's Friend while she was the Primary General President. Her term ended when she unexpectedly died of pneumonia in Salt Lake City, Utah, the day after her 62nd birthday. She was succeeded by Adele C. Howells, her first counselor.

See also
LaVern W. Parmley: second counselor to Hinckley

Notes
External links
May Green Hinckley at Find a Grave
Passage 4:
Francesco I Crispo
Francesco I Crispo, Patrizio Veneto (died 1397) was the tenth Duke of the Archipelago through his marriage and the will of Venice.
Francesco Crispo was probably born in Verona. He was Lord of Milos, thus a vassal to the Duke of Naxos, as well as his cousin through his marriage to Fiorenza Sanudo, a grand-daughter of the Duke Guglielmo Sanudo. Crispo might also have been a pirate. He was sent by the Republic of Venice to Naxos in March 1383 for concern that the then Duke Niccolò III dalle Carceri was incompetent. The Republic suffered from predation by the Ottoman Empire in the Aegean.On the island, a hunt was suggested. Officially, on the way back Niccolo III, escorted by Crispo's men was attacked by rebels or thieves. He fell off his horse and died. To quench any revolt, Francesco Crispo had to assume power.The Republic of Venice quickly sent its congratulations.Andros was another problem. It belonged to Maria Sanudo, sister of the late duke. When Francesco gave as a dowry Andros and Syros to his own daughter Pétronilla, Maria Sanudo called for justice in Venice.With his wife he had eight children:

Giacomo I Crispo
Petronilla Crispo (1384–1427), married to Pietro Zeno, together they received Andros and Syros as dowry
Agnese Crispo (1386–1428), married to Dragonetto Clavelli, Lord of Nisyros
John II Crispo
William II Crispo
Nicholas Crispo, Lord of Syros
Marco I Crispo, Lord of Ios
Nobil Huomo Pietro Crispo, Patrizio Veneto (1397–1440), married to NN and had issue:
Giovanni Crispo (died 1475), Knight of the Knights Hospitaller
Passage 5:
Dorothy Granger
Dorothy Karolyn Granger (November 21, 1911 – January 4, 1995) was an American actress best known for her roles in short subject comedies in Hollywood.

Career
Granger, with her parents, two brothers, Richard and James, and their grandmother, Clara (née Wilcox) Granger, moved to Los Angeles during the late 1920s.
Granger got her start in the entertainment industry when she won a beauty contest at the age of 13 at Silver Beach Summer Resort near Houston. Her budding figure and confident stage presence were perfect for studios that made comedy shorts. In 1930, her father took her to producer Hal Roach, who was then testing talent for his upcoming comedy series, The Boy Friends.
Granger’s natural comedy timing got her the job immediately and she was placed under contract to Hal Roach Studios. She became a charter member of the two-reel-comedy community, appearing opposite many major comedians at Roach, Mack Sennett, Educational Pictures, Columbia Pictures, and RKO Radio Pictures. Among her famous credits are Hog Wild with Laurel & Hardy, The Dentist with W.C. Fields, Punch Drunks and Termites of 1938 with The Three Stooges. Granger also appeared with Andy Clyde, Charley Chase, Edgar Kennedy, Harry Langdon, Gus Schilling & Richard Lane, and Joe DeRita, as well as on live television with Abbott & Costello. Granger is best remembered as the sarcastic, suspicious wife in Leon Errol's series of two-reelers for RKO.
For her body of work in two-reelers, Granger was known as the "Queen of the Short Subject Films". However, she also appeared in about 100 feature films, including Frisco Jenny, Sunset in El Dorado, Kentucky Kernels, Dick Tracy vs. Cueball, Diamond Jim, and Show Boat.

Later years
Granger worked on a variety of television shows through the 1950s, including The Abbott and Costello Show, I Married Joan, Father Knows Best, Topper, Lassie, Death Valley Days and Wells Fargo. Her last television performance was a live show on Face The Facts in 1961. Granger left show business in 1963, calling it an “ulcer factory.”
Granger made her last public appearance in 1993 for the Screen Actors Guild’s 60th anniversary celebration. She was an honored guest at the celebration because she was one of SAG’s first members. In later years she helped her husband run an upholstery shop in Los Angeles.
She was the stepmother of film maker and former record producer Anthony J. Hilder.

Death
Granger died of cancer on January 4, 1995, aged 83, in Los Angeles, California.

Selected filmography
Passage 6:
Anthony Crispo, Lord of Syros
Anthony Crispo (or Antonio;  - 1494), became Lord of Syros in 1463 after his older brother Francesco's death. He was the youngest son of Nicholas Crispo, Lord of Syros and Princess Eudokia Valenza Komnene, daughter of Emperor Alexios IV Komnenos of the Trebizond, and brother of Francesco II, sixteenth Duke of the Archipelago.
He married ... de Paterno, without issue.
Passage 7:
Henriette Feuerbach
Henriette Feuerbach (13 August 1812 – 5 August 1892) was a German author and arts patron. She was the wife of Joseph Anselm Feuerbach and the stepmother of painter Anselm Feuerbach, whom she supported in his art.

Life
Born Henriette Heydenreich in Ermetzhofen, she was the third child and only daughter of the pastor Johann Alexander Heydenreich (1754–1814) and his wife Friederika Christine née Freudel. Her brothers were Friedrich Wilhelm Heidenreich, to become a physician, and Christian Heydenreich (1800–1865), a future judge. They grew up in Ansbach and were educated in Latin, Greek and music.She married on 13 April 1834 the widower Josef Anselm Feuerbach, whose first wife was Amalie Keerl (1805–1830). She lived with him and his two children, Emilie (1827–1873) and Anselm (1829–1880), first in Freiburg im Breisgau, later in Heidelberg. She gave piano lessons, directed a choir, and organised house concerts. Clara Schumann and Johannes Brahms were among those who frequented her salon. Brahms and Henriette held each other in high esteem; in one of Brahms' letters, he referred to her and Anselm as "this splendid woman and her illustrious son". After Anselm's death, Brahms composed Nänie (1881) in his memory and included a dedication to Henriette.She invested most of her energies into supporting her stepson's efforts to establish himself as an artist and, after his death in 1880, to perpetuate his legacy. After he died, she reportedly destroyed all his personal letters and published a collection of his writings "which show him purely as an artist, as a genius wrestling with himself, his work and ignorant patrons", in an effort to build a legacy for him. This indeed furthered his renown for the next few decades.She died in Freiburg, eight days short of her 80th birthday.

Writing
In 1839, she published anonymously Gedanken über die Liebenswürdigkeit von Frauen, subtitled as Kleiner Beitrag zur weiblichen Charakteristik (A little contribution to the characteristics of women). In 1845, she published Sonntagsmuße (Sunday Rest), announced as a book for women. She edited with Hermann Hettner a collection of the writings of her husband after his death, working on the first of four volumes. In 1866, she published Uz und Cronegk, the portraits of two Franconian poets of the 18th century. She also published reviews in newspapers and magazines.Her letters, edited by Hermann Uhde-Bernays, document over a period of 50 years her influence on the education and development of Anselm Feuerbach. She published in 1882 a book Ein Vermächtnis – Anselm Feuerbach (A Legacy), to promote his recognition after his death in 1880. It was successful and has been in print in 50 editions.

Publications
Gedanken über die Liebenswürdigkeit der Frauen. Campe Verlag, Nürnberg 1839.
Sonntagsmuße – ein Buch für Frauen. Campe Verlag, Nürnberg 1846.
Feuerbach, J. A. v., Nachgelassene Schriften in four volumes, Verlag Vieweg und Sohn, Braunschweig 1853
Vol. 1: Anselm Feuerbach's Leben, Briefe und Gedichte, ed. Henriette Feuerbach,
Volumes 2–4: Geschichte der griechischen Plastik und Kunstgeschichtliche Abhandlungen, ed. Hermann Hettner.
Uz und Cronegk. Zwei fränkische Dichter aus dem vorigen Jahrhundert., Engelmann Verlag, Leipzig 1866.
Henriette Feuerbach (ed.): Ein Vermächtnis – Anselm Feuerbach; Propyläen-Verlag, Berlin 1924

Literature
Herbert Eulenberg: Henriette Feuerbach – Ein Kranz auf ihr Grab, in: Die Familie Feuerbach in Bildnissen, (p. 143, Stuttgart 1924.
Feuerbachhaus Speyer (ed.): Gedanken über die Liebenswürdigkeit der Frauen. after the original of 1839, Zechnersche Buchdruckerei, Speyer 1974.
Daniel Kupper: Anselm Feuerbachs „Vermächtnis“. Die originalen Aufzeichnungen. Deutscher Verlag für Kunstwissenschaft, Berlin 1992
Werner Schuffenhauer (ed.): Ludwig Feuerbach. Gesammelte Werke, Bd. 21, Briefwechsel V (1862–1868). Nachträge (1828–1861), Akademieverlag, Berlin 2004.
Ilona Scheidle: "Ins Leben hineingeplumpst“. Die Briefeschreiberin Henriette Feuerbach (1812–1892). In: Heidelbergerinnen, die Geschichte schrieben. München 2006, (p. 63–75).
Passage 8:
Nicholas Crispo, Lord of Syros
Nicholas Crispo, Patrizio Veneto (or Niccolò; 1392–1450), became Lord of Syros in 1420 and Regent of the Duchy of the Archipelago between 1447 and 1450. He was a son of Francesco I Crispo, tenth Duke of the Archipelago, and wife Fiorenza I Sanudo, Lady of Milos, and brother of Dukes Giacomo I, John II and William II.

Marriage and issue
It is not known for certain how many wives he had. In a letter dated 1426 Crispo says he was married to the daughter of Jacopo Gattilusio, lord of Lesbos. In a 1474 chronicle by the Venetian traveller Caterino Zeno it is said that he was married to an Eudoksia Valenza, of whom there is no other mention in any source. Although Zeno claims that she was a daughter of John IV of Trebizond, this has been disproved by historiographical research, which has shown that John had an only daughter, Theodora Despina (married to Uzun Hassan of Ak Koyunlu). Alternative identities have been proposed for Valenza: whether it was the name of Gattilusio's daughter, whether she was a daughter of Alexios IV of Trebizond or whether she was a Genoese woman.

Caterina Crispo, married in 1429 Angelo I Gozzadini, Lord of Kythnos (- 1468/76)
Lucrezia Crispo, married Nobil Huomo Leone Malipiero, Patrizio Veneto
Francesco II Crispo
Petronilla Crispo, married in 1437 Nobil Huomo Jacopo Priuli, Patrizio Veneto
Maria Crispo, married Nobil Huomo Nicolo Balbi, Patrizio Veneto
Fiorenza Crispo (–1501), married in 1444 Nobil Huomo Marco Cornaro, Cavaliere del Sacro Romano Impero, Patrizio Veneto (Venice, December 1406 – Venice, 1 August 1479), and had:
Giorgio Cornaro
Catherine Cornaro
Valenza Crispo, married Nobil Huomo Giovanni Loredan, Patrizio Veneto
Marco Crispo, Knight of the Knights Hospitaller, who had illegitimate issue
Violante Crispo, married Nobil Huomo Caterino Zeno, Patrizio Veneto, Diplomat of the Venetian Republic, and had:
Adriana Zeno
Pietro Zeno
A daughter
Anthony Crispo, Lord of Syros
Passage 9:
Irene Baker
Edith Irene Bailey Baker (November 17, 1901 – April 2, 1994) was an American politician and a United States Representative from Tennessee. She was the widow of Howard Baker Sr. and the stepmother of Howard Baker Jr.

Biography
Baker was born in Sevierville, Tennessee, on November 17, 1901, and attended public schools in Sevierville and Maryville.

Career
Baker served as Deputy County Court Clerk of Sevier County from 1918 to 1922 and as Deputy Clerk and Master of Chancery Court from 1922 to 1924.
After her first husband's death, Baker went to work for the Tennessee Valley Authority (TVA). On  September 15, 1935, she married Howard Baker Sr., who was a widower with two children. The couple raised Baker's two children from his first marriage, Howard H. Baker Jr. and Mary Elizabeth Baker, as well as  a daughter of their own, Beverly Irene Baker. She served on the Republican National Committee from 1960 to 1964.When her husband died suddenly in office on January 7, 1964, Baker ran as a Republican in the special election to fill the remainder of his term, defeating Democrat Willard Yarbrough, a Knoxville journalist. As a candidate for the seat, she promised to serve only as a caretaker who would not seek further election; and she fulfilled that promise, and served from  March 10, 1964, to January 3, 1965.  While in Congress, she served on the House Committee on Government Operations and advocated for a balanced federal budget. She also championed coal mining interests, the TVA, U.S. Atomic Energy Commission programs in Oak Ridge, Tennessee, and cost of living increases in Social Security pensions.  As one of ten Republicans from the South, she voted against the Civil Rights Act.After leaving Congress in 1965, Baker became Director of Public Welfare in Knoxville, Tennessee, a position she held until 1971.

Death
Baker died in Loudon, Tennessee on April 2, 1994 (age 92 years, 136 days). She is interred at Sherwood Memorial Gardens, in Loudon, Tennessee.

See also
Women in the United States House of Representatives
Passage 10:
Giorgio Cornaro
Nobil Huomo Giorgio Cornaro, called "Padre della Patria" (1452 – 31 July 1527) was a Venetian nobleman and politician.

Life
Giorgio Cornaro was born in Venice in 1452. He was the son of Nobil Huomo Marco Cornaro (December 1406 – 1 August 1479) by his wife, married in 1444, Fiorenza Crispo (1422 – 1501), daughter of Nicholas Crispo, Lord of Syros. His sister was Catherine Cornaro, Queen of Cyprus.
He married in Venice in 1475 Nobil Donna Elisabetta Morosini, Patrizia Veneta, and had an issue, called "Cornaro della Regina".
He died in Venice on 31 July 1527.

Offices
Knight of the Holy Roman Empire,
Patrician of the Republic of Venice,
Podestà of Brescia in 1496,
Procurator of St Mark's.

Likeness
Giorgio is depicted in a double portrait, with his son Cardinal Francesco Cornaro, in the National Gallery of Ireland.

Footnotes


Passage 1:
Domenico de Dominicis
Domenico de Dominicis or Domenico de Dominici (died 1478) was a Roman Catholic prelate who served as Bishop of Brescia (1464–1478)
and Bishop of Torcello (1448–1464).

Biography
On 20 February 1448, Domenico de Dominicis was appointed during the papacy of Pope Nicholas V as Bishop of Torcello.
On 14 November 1464, he was appointed during the papacy of Pope Paul II as Bishop of Brescia.
He served as Bishop of Brescia until his death in 1478. While bishop, he was the principal consecrator of Johannes Hinderbach, Bishop of Trento (1466); and the principal co-consecrator of Giovanni Stefano Botticelli, Bishop of Cremona (1467).
Passage 2:
Wesley Barresi
Wesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, but returned to the national team in August 2022.

Career
Wesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.
Passage 3:
Wale Adebanwi
Wale 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.

Education background
Wale 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.

Career
Adebanwi 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.

Works
His published works include:
Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)
Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)
Authority 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.

The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)
Writers and Social Thought in Africa (Routledge, 2016)
(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)
(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).
(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)
(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).

Awards
Rhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.
Passage 4:
Domenico Maggiotto
Domenico Maggiotto or Domenico Fedeli (1713–1794) was an Italian painter and engraver of the late-Baroque period.
He was one of the main pupils of Giovanni Battista Piazzetta. His son Francesco Maggiotto was also a painter.
He lived and worked mainly in Venice.
Passage 5:
Shahanuddin Choudhury
Shahanuddin Choudhury (born 15 June 1967) is a Bangladeshi sprinter. He competed in the men's 200 metres at the 1992 Summer Olympics.
Passage 6:
Greg A. Hill (artist)
Greg A. Hill is a Canadian-born First Nations artist and curator. He is
Kanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory, Ontario.

Early life
Hill was born and raised in Fort Erie, Ontario.

Art career
His work as a multidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism and concepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the International Museum of Electrography.

Curatorial career
Hill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.

Awards and honours
In 2018, Hill received the Indspire Award for Arts.
Passage 7:
John McMahon (Surrey and Somerset cricketer)
John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.

Surrey cricketer
McMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.

Somerset cricketer
Somerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.
McMahon instantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: "The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen," it said. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.
The figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called "clever variation of flight and spin". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that "proved highly controversial".

Sacked by Somerset
The reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as "a man who embraced the antipodean virtues of candour and conviviality". It went on: "Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by "a POW-type loop" organised by McMahon, "with his team-mates escaping through a ground-storey window and then presenting themselves again". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been "an embarrassing episode at Swansea's Grand Hotel" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.
After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.

== Notes and references ==
Passage 8:
Hartley Lobban
Hartley 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.

Life and career
Lobban 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.
He 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.
Passage 9:
Henry Moore (cricketer)
Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.

Life and family
Henry 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
grandfather 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.

Cricket career
Moore 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.
Passage 10:
Domenico Distilo
Domenico Distilo (born 25 December 1978 in Rome, Lazio, Italy) is a filmmaker living and working between Rome, Italy and Berlin, Germany.
He graduated in film direction from the Centro Sperimentale di Cinematografia in Rome with the film Unexpected (Inatteso), a documentary on the demand for political asylum in Italy, which was screened at the Festival dei Popoli in Florence and at the Berlinale, within the section "Forum" in 2006.
In 2008, he won the national prize Premio Solinas for the screenplay of the feature film When elephants fight (Quando gli elefanti combattono), written in collaboration with Filippo Gravino and Guido Iuculano.In 2009, he joined the production company Sciara, where he works as director and producer.
In 2011, he directed two documentaries for RAI 3, the Italian cultural public channel: Urban extremes - Jerusalem (Estremi urbani, Gerusalemme), on the territorial conflict in Jerusalem and Romany imaginary - Minority artists (Immaginario Rom - Artisti Contro), on Romany art in Hungary.
Distilo's works generally focus on social issues, with a special interest in various forms of contemporary art.
In his movie Deep time (Margini di sottosuolo) (2012), he explored the boundaries between documentary and fiction with a story on archeology and the feelings that bound people to their past.
In 2018 his documentary Manga Do, Igort and the way of the manga won the audience award at the Biografilm Festival in Bologna. The film tells the journey of Igort, one of the most important Italian graphic novel authors, in the founding places of Japanese culture. The film follows a previous reportage, Igort, the secret landscape (2013), which tells the story of Igort's search for the creation of his trilogy on the Soviet Union.

Prizes and awards
In 2000 his short film Entrevias won the first prize at the Messina Film Festival
In 2006 Unexpected (Inatteso) won the first prize as best documentary at Alicante Film Festival and received the jury's special mention at the Arcipelago - Festival Internazionale di Cortometraggi e Nuove Immagini of Rome
In 2008 the screenplay from When elephants fight (Quando gli elefanti combattono) won the first prize at the event Premio Solinas
In 2011 Distilo won the Premio maestri del documentario at the Assaggi di realtà festival of Messina
In 2018 Manga Do, Igort and the way of the manga was awarded the Audience award at the Biografilm Festival in Bologna

Filmography
Documentaries
A day in Rome (Un giorno a Roma), (2001), produced by Centro Sperimentale di Cinematografia
Tiburtina tells (Tiburtina racconta), (2005)
Dialogues for Refugees (Dialoghi di Profughi), (2005)
Unexpected (Inatteso), (2005), produced by Centro Sperimentale di Cinematografia
CAM Selinunte, (2008), produced by Sciara
The Calm and the Storm, (2010)
Urban Extremes – Jerusalem (Estremi urbani - Gerusalemme), (2011), produced by Sciara
Romany imaginary  - Minority artists (Immaginario Rom - Artisti contro), (2011), produced by Sciara
Deep time  (Margini di Sottosuolo), (2012), produced by Sciara
Igort, the secret landscape, (2013), produced by Sciara
Manga Do, Igort and the way of the manga, (2018) produced by Sciara

Short films
Entrevias, (2000)
Bartleby, the scrivener (Bartleby, lo scrivano), (2004), an adaptation from Herman Melville's homonym tale produced by Centro Sperimentale di Cinematografia
Laura in Lampedusa (Laura a Lampedusa), (2009), produced by Rai 1 for the programme "Vivo per te - 150 anni della Croce Rossa", broadcast on the 25th of December 2009
Bettgeflüster (Pillow Talk), (2021) , short film comedy, German Leads. Presented at the "late-night-love" section of the PÖFF SHORTS, Tallinn Black Nights Film Festival 2021

Projects
The rope over the sea (Dawaz: la fune sul mare), a documentary with Adili Wuxiuer
When elephants fight (Quando gli elefanti combattono), movie