Given the below context:  Fuller's time at Adyar was eventful. Leadbeater arrived around the same time as Fuller, and soon afterward he "discovered" the person he believed would become a global teacher and orator, Jiddu Krishnamurti (then in his teens). Leadbetter and others tutored Krishnamurti. Fuller may have taught him photography. She also had a small studio built in the grounds, and painted. Her works from the period include a portrait of Leadbeater and Portrait of the Lord Buddha. McFarlane emphasises the significance of the latter work, pointing out that it is "strikingly modern" in comparison to all of Fuller's other work, and more radical than compositions created by Grace Cossington Smith and Roland Wakelin, half a decade later. The painting owes much to theosophy's emphasis on seeing the subject "through a psychic, visionary experience". Sources describing Fuller's movements after her time in India sometimes are ambiguous. She arrived in England in June 1911, where she marched with Besant in the suffragette protests associated with the coronation of George V. She continued to paint portraits, but found it difficult to realise the transformation in her art that she had conceptualised in India:I have painted a great many portraits since I have been in England, and have been, I suppose, fairly successful—though I have done nothing in any way remarkable. The hidden inner life has not yet succeeded in expressing itself on canvas, and I can only write myself as one who aspires to a greater art, but who has not yet achieved.  Guess a valid title for it!
Ans: Florence Fuller

Given the below context:  In the first years of the silent film era, from the 1890s, films were generally accompanied by live music, often improvised, provided by piano or pump organ. In the early 20th century, larger cinemas began to use orchestras, which would accompany the film with out-of-copyright classical pieces or, increasingly, with original compositions. The score for the 1916 classic The Birth of a Nation, compiled by Joseph Carl Breil from various classical works and some original writing, was a landmark in film music, and inspired notable composers of the day to provide scores for silent films. Among these were the Americans Victor Herbert and Mortimer Wilson, from France Darius Milhaud and Arthur Honegger, and the Germans Gottfried Huppertz and Edmund Meisel.In 1927 developments in sound technology brought the arrival of "talking pictures". In these, accompanying music was originally recorded on a disc, separately from the film images, but within two years the "Movietone" system enabled sound to be captured on the film itself. Music could now be aligned specifically with the film's on-screen action—the so-called "diegetic" approach. Early pioneers of this method were the Germans Friedrich Hollaender and Karol Rathaus, who provided the music for The Blue Angel (1930) and The Murderer Dimitri Karamazov (1931) respectively. By this time in the Soviet Union, the young Dimitri Shostakovich had already begun his prolific career as a composer of film sound-tracks, with The New Babylon in 1929 and Alone in 1931.When planning their proposed film Lieutenant Kijé in 1932, the Belgoskino studios of Leningrad asked the expatriate Prokofiev to write the accompanying music. In some respects Prokofiev was a surprising choice; he was at this stage better known abroad than in the Soviet Union, and had acquired a reputation for dissonance. Moreover, his ballet Le pas d'acier had fared badly at Moscow's Bolshoi Theatre in 1929. The composer's first response was to refuse the commission; a member of the production team recalled that...  Guess a valid title for it!
Ans: Lieutenant Kijé (Prokofiev)

Given the below context:  Two young American couples — Jeff and Amy, and Eric and Stacy — enjoy their vacation in Mexico. They meet Mathias, a German tourist, who is looking for his brother Heinrich. His last known location is an archaeological dig at a remote Mayan ruin in the jungle. They are also joined by Dimitri, Mathias's friend. The group reaches the ruins of a Mayan temple, and are confronted by Mayan villagers with guns and bows. Mathias tries to explain their purpose, but the villagers do not understand Spanish or English. When Amy accidentally touches some vines the villagers become increasingly agitated. Dimitri approaches the villagers, hoping to appease them, but they shoot and kill him. The rest of the group flees up the steps of the ruins. At the top, they find an abandoned camp and a shaft in the center. The group cannot call for help since Eric's phone has no signal. They hear a cell phone ringing from somewhere inside the ruins. Believing it is Heinrich's phone ringing, the rest of the group lowers Mathias down the shaft with a rope. The rope breaks and Mathias falls, becoming completely paralyzed. Amy and Jeff descend the temple steps hoping to reason with the Mayans, but to no success. In anger, Amy throws a clump of vines at them and hits a young boy, whom the Mayans promptly kill. They realize the Mayans are afraid of the vines, and won't let them go since they have touched them. Later, Stacy and Amy descend the shaft to help Mathias and to find the phone. Jeff and Eric rig a backboard and bring Mathias out of the shaft.  Guess a valid title for it!
Ans: The Ruins (film)

Given the below context:  While travelling, Nielsen discovered and then turned against Richard Wagner's music dramas, heard many of Europe's leading orchestras and soloists and sharpened his opinions on both music and the visual arts. Although he revered the music of Bach and Mozart, he remained ambivalent about much 19th-century music. In 1891 he met the composer and pianist Ferruccio Busoni in Leipzig; they were to maintain a correspondence for over thirty years. Shortly after arriving in Paris in early March 1891 Nielsen met the Danish sculptor Anne Marie Brodersen, who was also travelling on a scholarship. They toured Italy together and married in St Mark's English Church, Florence, on 10 May 1891 before returning to Denmark. According to Fanning, their relationship was not only a "love match", but also a "meeting of minds"; Anne Marie was a gifted artist and a "strong-willed and modern-minded woman, determined to forge her own career". This determination would strain the Nielsens' marriage, as Anne Marie would spend months away from home during the 1890s and 1900s, leaving Carl, who was susceptible to opportunities with other ladies, to raise their three young children in addition to composing and fulfilling his duties at the Royal Theatre.Nielsen sublimated his anger and frustration over his marriage in a number of musical works, most notably between 1897 and 1904, a period which he sometimes called his "psychological" period. Fanning writes, "At this time his interest in the driving forces behind human personality crystallized in the opera Saul and David and the Second Symphony (The Four Temperaments) and the cantatas Hymnus amoris and Søvnen". Carl suggested divorce in March 1905 and had considered moving to Germany for a fresh start, but despite several extended periods of separation the Nielsens remained married for the remainder of the composer's life.Nielsen had five children, two of them illegitimate. He had already fathered a son, Carl August Nielsen, in January 1888, before he met Anne Marie. In 1912, an illegitimate...  Guess a valid title for it!
Ans: Carl Nielsen