[Q]: Given the below context:  Like other Spanish liberals, Goya was left in a difficult position after the French invasion. He had supported the initial aims of the French Revolution, and hoped its ideals would help liberate Spain from feudalism to become a secular, democratic political system. There were two conflicts being fought in Spain: the resistance against the French threat, and a domestic struggle between the ideals of liberal modernisation and the pre-political incumbent ruling class. The latter divide became more pronounced—and the differences far more entrenched—following the eventual withdrawal of the French.Several of Goya's friends, including the poets Juan Meléndez Valdés and Leandro Fernández de Moratín, were overt afrancesados: the supporters (or collaborators, in the view of many) of Joseph Bonaparte. He maintained his position as court painter, for which an oath of loyalty to Joseph was necessary. However, Goya had an instinctive dislike of authority, and witnessed first-hand the subjugation of his countrymen by French troops. During these years he painted little aside from portraits of figures from all parties, including an allegorical painting of Joseph Bonaparte in 1810, Wellington from 1812 to 1814, and French and Spanish generals. Meanwhile, Goya was working on drawings that would form the basis for The Disasters of War. He visited many battle sites around Madrid to witness the Spanish resistance. The final plates are testament to what he described as "el desmembramiento d'España"—the dismemberment of Spain.  Guess a valid title for it!
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[A]: The Disasters of War


[Q]: Given the below context:  The film opens with two small-time crooks Tommy Uva and Rosie DeToma getting high and robbing a florist on Valentine's Day. Tommy holds up the cashier with a pistol while Rosie waited in the car she inherited from her father. Tommy is arrested and sent to prison for 18 months. In the meantime, Rosie gets a job at a debt collection agency run by Dave Lovell, who went to jail for bilking major companies out of $800,000 through fraudulent invoices. Lovell reformed his life and mainly hires ex-cons at his firm. He is happy to give Tommy a job and a second chance. Tommy is restless and instead of following the call script, he often counsels people on how to defraud Lovell's company. When Tommy sees some mafiosos in his neighborhood, he grows enraged. He calls them fat old guys living off their reputation, and he resents the way the mafia treated his father. Over the course of the film, it is revealed that Tommy's father started his shop with a mafia loan, and he suffered frequent beatings when he was late with payments. Tommy's mother and brother still run the shop, but his mother blames Tommy's criminal activity for breaking her husband's heart and leading to his death. Whereas, Tommy blames his father's death completely on the humiliation he suffered at the hands of the mafia. Tommy skips work one day to attend the trial of John Gotti. He watches Sammy the Bull's testimony, and he perks up when Sammy explains that no guns are allowed in mafia social clubs. He cases one of the clubs that Sammy mentioned, and then he pitches the idea to rob the club to Rosie. He explains that it will be safe since no one will have a gun, and that the mafia would never call the cops to report the crime. He gets an Uzi, which he does not know how to use. Rosie reluctantly shows him how to load it, and agrees to the plan.  Guess a valid title for it!
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[A]: Rob the Mob


[Q]: Given the below context:  At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...  Guess a valid title for it!
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[A]:
Peter Warlock