input question: Given the below context:  Rossier first arrived in Japan in 1859, at a time when early experiments in photography were being conducted in Kyūshū, particularly in Nagasaki. The city was the centre of rangaku, the study of Western science, and it was here that physicians Jan Karel van den Broek and J. L. C. Pompe van Meerdervoort were instrumental in teaching their Japanese students not only medicine but also chemistry and photography. Neither Van den Broek nor Pompe van Meerdervoort was an experienced photographer, and their attempts to produce photographs were largely failures. Nevertheless, in turn they taught wet-collodion process photography to Keisai Yoshio, Furukawa Shumpei, Kawano Teizō, Maeda Genzō, Ueno Hikoma, and Horie Kuwajirō, among others.On his arrival in Japan, Rossier presumably introduced himself as a photographer despatched to Japan by Negretti and Zambra, perhaps thereby inspiring a misconception, for while he remained in the country he was often referred to as an "English" photographer. In Nagasaki, Rossier was assisted in his work by Maeda Genzō, who had been instructed to accompany the "Englishman" and to further learn photography. With Maeda and other students escorting him around the city, Rossier took photographs of priests, beggars, the audience of a sumo match, the foreign settlement, and the group portrait of Alexander von Siebold and samurai. Rossier believed that Pompe van Meerdervoort's failures in photography were due to a lack of the necessary chemicals and so he provided Maeda with a letter of recommendation to procure photographic apparatus and chemicals from a source in Shanghai. Both Maeda and Furukawa bought lenses, chemicals and albumen paper through Rossier.At this time, Ueno Hikoma and Horie Kuwajirō also received photographic instruction from Rossier. Apparently Ueno had originally intended to learn not only the practice of photography but also the manufacture of cameras. The encounter with Rossier seems to have convinced Ueno to pursue photography as a career, but he was so overwhelmed by the...  Guess a valid title for it!???
output answer: Pierre Rossier

input question: Given the below context:  The cartoon opens with the poet, who looks similar to William Shakespeare, trying to write and coming across a castle with a mailbox with "Macbeth" written on it. At this he begins to write a story based on this title. He hears the loud screeching laugh of Witch Hazel and watches her stir her cauldron. The witch has Bugs Bunny trapped, sleeping on a platter and wakes him up. He believes the cauldron to be a bath and readily climbs in, only realizing his mistake after reading her open recipe book. He quickly jumps out of the boiling cauldron and runs away from Witch Hazel, towards the castle, when she tries to attack him with a meat cleaver. Witch Hazel pursues Bugs Bunny on her flying broomstick. We then see the poet again trying to write after Bugs and the witch have departed. At the castle, Witch Hazel and Bugs run into each other and they have a little laughing contest, then Bugs runs up a tall tower, saying "You hoo! Granny! Here I am!" and Witch Hazel says after that "And here I come!" while she is on her broomstick, but goes backwards, Witch Hazel says that she had the silly thing in reverse. Then she flies up to the tower, saying in baby talk "Hello," where Bugs gives her a heavy weight and says, "Good-bye!" As the witch falls down with it, she cries out "Good grief!" then Bugs says, "Good riddance!" She crashes to the ground with her broom destroyed and the chase continues and as Bugs Bunny acts as Romeo to try to trick Witch Hazel, who starts to quote Juliet's lines from the play but soon the two improvise. Witch Hazel jumps out of castle window as Bugs pretends that he will catch her and rapidly runs off.  Guess a valid title for it!???
output answer: A Witch's Tangled Hare

input question: Given the below context:  As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to...  Guess a valid title for it!???
output answer:
Three Studies for Figures at the Base of a Crucifixion