Given the below context:  That lovable know-it-all knucklehead Ernest P. Worrell, who is working as a janitor at a local college, meets a history professor named Dr. Abner Melon. After discovering an antique metal plate near a construction site, Ernest shows it to Dr. Melon who believes that it came from a giant Revolutionary War cannon called "Goliath", (named after the legendary biblical giant). Dr. Melon had previously been ridiculed by his peers for theorizing that the real Crown Jewels of England were stolen during the Revolutionary War and were actually hidden inside the long-lost cannon.  They begin to search for the artifact near the construction site and eventually locate it inside an abandoned mine. They are ambushed by historical antiquity collector and Dr. Melon's colleague Dr. Glencliff whom they then lead on an action-packed chase through the countryside. Things become more complicated for them when British authorities hear about the incident and send a team of secret agents after them to retrieve the jewels. Dr. Melon's wife, Nan, on the other hand is only after him and Ernest for the jewels. While everyone is hot on their trail, Ernest develops a deep friendship with Dr. Melon. After crashing the cannon into a forest, Ernest locates the jewels, not in its barrel as the legend describes but in the gunpowder kegs. After putting the crown on his head, he finds himself unable to get it off. Dr. Glencliff shows up, abducts him, and takes him to his clinic in an attempt to surgically remove it and kill him at the same time. Dr. Melon meets up with Nan and convinces her to help him save Ernest.  Guess a valid title for it!
Ans: Ernest Rides Again

Given the below context:  During his life Etty had acquired followers such as Irish painters William Mulready and Daniel Maclise, but both rejected Etty's preoccupation with nudes. Mulready painted nudes but became best known for domestic genre paintings, while Maclise chose to specialise in more traditional history paintings and exhibited only one nude work in his career. One of the few painters who consciously attempted to continue Etty's style after his death was William Edward Frost, who had been an acquaintance of Etty's since 1825. In the early 1830s Frost painted on commission for Thomas Potts (whose 1833 commission of Etty to paint his daughter Elizabeth's portrait had been Etty's first significant portrait commission), and later was commissioned on Etty's recommendation to paint a portrait of Etty's cousin Thomas Bodley. Frost successfully imitated Etty throughout his career, to the extent that his figure studies and Etty's are often misattributed to each other. Although Frost eventually became a Royal Academician in 1870, by this time Etty's style of painting had badly fallen out of fashion.Victorian painting had gone through radical changes, and by the 1870s the realism of Etty and the Pre-Raphaelites had given way to the ideas of the Aesthetic Movement, abandoning the traditions of storytelling and moralising in favour of painting works designed for aesthetic appeal rather than for their narrative or subject. Although the aesthetic movement ultimately led to a brief revival of history painting, these works were in a very different style to Etty's. The new generation of history painters such as Edward Burne-Jones, Lawrence Alma-Tadema and Frederic Leighton sought to depict passivity, rather than the dynamism seen in previous works depicting the classical world. By the end of the 19th century, the value of all of Etty's works had fallen below their original prices. As the 20th century began, the increasingly influential Modernist movement, which came to dominate British art in the 20th century, drew its inspiration from Paul...  Guess a valid title for it!
Ans: William Etty

Given the below context:  The Esquisses of 1861 are a set of highly varied miniatures, ranging from the tiny 18-bar no. 4, Les cloches (The Bells), to the strident tone clusters of no. 45, Les diablotins (The Imps), and closing with a further evocation of church bells in no. 49, Laus Deo (Praise God). They were preceded in publication by Alkan's deceptively titled Sonatine, Op. 61, in 'classical' format, but a work of "ruthless economy [which] although it plays for less than twenty minutes ... is in every way a major work."Two of Alkan's substantial works from this period are musical paraphrases of literary works. Salut, cendre du pauvre, Op. 45 (1856), follows a section of the poem La Mélancolie by Gabriel-Marie Legouvé; while Super flumina Babylonis, Op. 52 (1859), is a blow-by-blow recreation in music of the emotions and prophecies of Psalm 137 ("By the waters of Babylon ..."). This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan's Bible translation. Alkan's lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn, which appeared between 1857 and 1872, as well as by a number of minor pieces. Alkan's publications for organ or pédalier commenced with his Benedictus, Op. 54 (1859). In the same year he published a set of very spare and simple preludes in the eight Gregorian modes (1859, without opus number), which, in Smith's opinion, "seem to stand outside the barriers of time and space", and which he believes reveal "Alkan's essential spiritual modesty." These were followed by pieces such as the 13 Prières (Prayers), Op. 64 (1865), and the Impromptu sur le Choral de Luther "Un fort rempart est notre Dieu" , op. 69 (1866). Alkan also issued a book of 12 studies for the pedalboard alone (no opus number, 1866) and the Bombardo-carillon for pedalboard duet (four feet) of 1872.Alkan's return to the concert platform at his Petits Concerts, however, marked the end of his publications; his final work to be issued was the Toccatina, Op. 75, in 1872.  Guess a valid title for it!
Ans: Charles-Valentin Alkan