Q: Given the below context:  Paul Hogan plays Lightning Jack Kane, a long-sighted Australian outlaw in the American west, with his horse, Mate.  After the rest of his gang is killed in a robbery-gone-wrong, Jack survives only to read of the events in the newspaper that he was nothing next to others.  Annoyed at not being recognised as an outlaw, Jack attempts a robbery by himself, and ends up taking young mute Ben Doyle as a hostage. He later discovers that, tired of never having been treated with respect due to his disability, Ben wishes to join him.   Jack attempts to teach Ben how to fire a gun and rob banks, with his first attempt at "on-the-job" training ending with Ben shooting himself in the foot. Across the course of the training, they pay occasional visits to saloons where Jack shows Ben the truth about adult life, including helping him to lose his virginity. However, the true nature of the saloon visits is for Jack to make contact with showgirl Lana Castel, who, unbeknownst to Jack, is madly in love with him. When Ben's training is complete, the two learn of a bank which is said  the entire town armed and ready to protect it. Jack sees this as the test he has been waiting for, and together they hatch a plan to rob it. Everything seems to be going smoothly and they are set to begin, until Jack discovers that a rival gang of outlaws is also planning to rob the bank. He is prepared to give up when Ben has a plan of his own.  Guess a valid title for it!
A: Lightning Jack

Q: Given the below context:  Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning. She is shown with long pale hair, and wild eyes, smothering a wolf with her feet, while clutching a cub in her arms. Art historians have presented multiple interpretations—usually that Gauguin intended it as an epithet to reinforce his self-image as a "civilised savage". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient sources, including an Assyrian relief of a "master of animals" type, and Majapahit mummies. Other possible influences include preserved skulls from the Marquesas Islands, figures found at Borobudur, and a 9th-century Mahayana Buddhist temple in central Java. Gauguin made three casts, each in partially glazed stoneware, and while several copies exist in plaster or bronze, the original cast is in the Musée d'Orsay.  His sales of the casts were not successful, and at a low financial and personal ebb he asked for one to be placed on his grave. There are only three other surviving comments of his on the figure: he described the figure as a strange and cruel enigma on an 1895 presentation mount of two impressions of a woodcut of Oviri for Stéphane Mallarmé; he referred to it as La Tueuse ("The Murderess") in an 1897 letter to Ambroise Vollard; and he appended an inscription referencing Honoré de Balzac's novel Séraphîta in a c. 1899 drawing. Oviri was exhibited at the 1906 Salon d'Automne (no. 57) where it influenced Pablo Picasso, who based one of the figures in Les Demoiselles d'Avignon on it.  Guess a valid title for it!
A: Oviri

Q: Given the below context:  The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then...  Guess a valid title for it!
A:
Tosca