Q: Given the below context:  In a technologically-advanced 1939, the zeppelin Hindenburg III moors itself atop the Empire State Building. Aboard the airship is Dr. Jorge Vargas, a scientist who arranges for a package containing two vials to be delivered to Dr. Walter Jennings. The courier looks back while leaving with the vials, to see that Dr. Vargas has vanished. Polly Perkins, a reporter for The Chronicle, is looking into the disappearances of Vargas and five other renowned scientists. A cryptic message leads her to Radio City Music Hall, against the warnings of her editor, Mr. Paley, where she meets Dr. Jennings during a showing of The Wizard of Oz. He tells her that a Dr. Totenkopf is coming for him next. Suddenly, seemingly indestructible robots attack the city. Clearly outmatched, the authorities call for "Sky Captain" Joe Sullivan, the city's hero and Perkins' ex-lover and the commander of the private air force the Flying Legion. While Joe engages the robots with his modified Curtiss P-40 pursuit fighter, Perkins photographs from the street with little regard for her personal safety. He eventually manages to disable one robot; the rest leave thereafter. News reports show similar attacks around the globe. The disabled robot is taken back to the Legion's air base so that technology expert Dex can examine it. Polly follows and convinces Joe to reluctantly let her in on the investigation. Her information takes them to the ransacked laboratory of a dying Dr. Jennings, while an assassin escapes. Just before he dies, Jennings gives Polly the two vials and states that they are crucial to Totenkopf's plans. Polly hides the vials and withholds the information from Joe. They return to the Legion's base just before it comes under attack from squadrons of ornithopter drones. Dex tracks the origin of the signal controlling the drones and notes it on a map before his capture.  Guess a valid title for it!
A: Sky Captain and the World of Tomorrow

Q: Given the below context:  Bedřich Smetana, first named Friedrich Smetana, was born on 2 March 1824, in Litomyšl (German: Leitomischl), east of Prague near the traditional border between Bohemia and Moravia, then provinces of the Habsburg Empire. He was the third child, and first son, of František Smetana and his third wife Barbora Lynková. František had fathered eight children in two earlier marriages, five daughters surviving infancy; he and Barbora had ten more children, of whom seven reached adulthood. At this time, under Habsburg rule, German was the official language of Bohemia. František knew Czech but, for business and social reasons, rarely used it; and his children were ignorant of correct Czech until much later in their lives. The Smetana family came from the Hradec Králové (German: Königgrätz) region of Bohemia. František had initially learned the trade of a brewer, and had acquired moderate wealth during the Napoleonic Wars by supplying clothing and provisions to the French Army. He subsequently managed several breweries before coming to Litomyšl in 1823 as brewer to Count Waldstein, whose Renaissance castle dominates the town.The elder Smetana, although uneducated, had a natural gift for music and played in a string quartet. Bedřich was introduced to music by his father and in October 1830, at the age of six, gave his first public performance. At a concert held in Litomyšl's Philosophical Academy he played a piano arrangement of Auber's overture to La muette de Portici, to a rapturous reception. In 1831 the family moved to Jindřichův Hradec in the south of Bohemia—the region where, a generation later, Gustav Mahler grew up. Here, Smetana attended the local elementary school and later the gymnasium. He also studied violin and piano, discovering the works of Mozart and Beethoven, and began composing simple pieces, of which one, a dance (Kvapiček, or "Little Galop"), survives in sketch form.In 1835, František retired to a farm in the south-eastern region of Bohemia. There being no suitable local school, Smetana was sent to...  Guess a valid title for it!
A: Bedřich Smetana

Q: Given the below context:  Vicki Wilomirska, an impoverished Polish princess, falls madly in love while dancing with the charming but penniless Austrian baron Nicki Prax. She ends her engagement to wealthy lawyer Hubert Tyler. They marry secretly, but are exposed by one of Nicki's ex-girlfriends, decorator Linda Wayne. The two support themselves by being professional house guests in the homes of American nouveau riche, who are impressed by Old World aristocracy. Eventually Nicki decides to do the unthinkable and get a job. Linda pursues Nicki, and Vicki, brokenhearted, sues for divorce. Hubert represents Vicki in the case, and despite Nicki's tender declaration of his love, the teary judge grants the divorce. When Nicki returns from South America, Linda asks him to see her. At her office, he learns that Vicki and Hubert are engaged. He persuades Linda to help him get a job with her competitor, who is decorating the new house that Hubert is building for his fiancee. He begins by behaving professionally, but eventually confesses that he loves only Vicki. She tells him that he is too late.  At the fancy betrothal party for Hubert and Vicki, Nicki comes to say goodbye. They dance to the same waltz that had ignited their passion when they first met, and the magic returns. They elope once more.  Guess a valid title for it!
A: We Were Dancing (film)

Q: Given the below context:  Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it...  Guess a valid title for it!
A:
Florence Fuller