Problem: Given the below context:  The cartoon opens with an introduction of Petunia Pig; Petunia is shown as nervous, tripping on her lines and being unable to pronounce them correctly while on stage, leading an off-screen announcer to quietly tell her not to get excited. This causes her to go into an explosive rant and then the curtain closes on her and the main part of the cartoon starts. Porky is shown buying some flowers, candy, and then eventually a diamond ring. He proceeds to go over to Petunia's house and knock on the door, then Petunia goes to answer the door with her spoiled dog, Fluffnums. When she sees Porky, she is disgusted to see him so she disdainfully tells him to go away. This causes him to leave crying out of sadness and he then walks away, but Fluffnums sees the candy Porky has and alerts her to this fact. Petunia proceeds to run out after Porky and take him into her house, where she rips open the candy container and starts eating the candy. Porky tries to help himself to the candy several times but is constantly harassed by Fluffnums, who snarls and growls at him each time he tries to reach for the candy box. Porky finally gets a piece of candy, winks at the audience, and then finds out that Fluffnums ate it. He eventually tries to propose to Petunia, but as he is starting to do so, Fluffnums pulls a mean-spirited trick on Porky by pulling the rug out from under him. The fickle and selfish Petunia laughs at him, causing Porky to leave the house and walk off in shame. He proceeds to write a suicide note and tries to hang himself from a tree, but the branch the rope is on snaps due to Porky's weight, knocking him out and causing him to go into a dreamlike state.  Guess a valid title for it!

A: Porky's Romance


Problem: Given the below context:  Little is known for certain of the life of Hieronymus Bosch or of the commissions or influences that may have formed the basis for the iconography of his work. His birthdate, education and patrons remain unknown. There is no surviving record of Bosch's thoughts or evidence as to what attracted and inspired him to such an individual mode of expression. Through the centuries art historians have struggled to resolve this question yet conclusions remain fragmentary at best. Scholars have debated Bosch's iconography more extensively than that of any other Netherlandish artist. His works are generally regarded as enigmatic, leading some to speculate that their content refers to contemporaneous esoteric knowledge since lost to history. Although Bosch's career flourished during the High Renaissance, he lived in an area where the beliefs of the medieval Church still held moral authority. He would have been familiar with some of the new forms of expression, especially those in Southern Europe, although it is difficult to attribute with certainty which artists, writers and conventions had a bearing on his work.José de Sigüenza is credited with the first extensive critique of The Garden of Earthly Delights, in his 1605 History of the Order of St. Jerome. He argued against dismissing the painting as either heretical or merely absurd, commenting that the panels "are a satirical comment on the shame and sinfulness of mankind". The art historian Carl Justi observed that the left and center panels are drenched in tropical and oceanic atmosphere, and concluded that Bosch was inspired by "the news of recently discovered Atlantis and by drawings of its tropical scenery, just as Columbus himself, when approaching terra firma, thought that the place he had found at the mouth of the Orinoco was the site of the Earthly Paradise". The period in which the triptych was created was a time of adventure and discovery, when tales and trophies from the New World sparked the imagination of poets, painters and writers. Although the triptych...  Guess a valid title for it!

A: The Garden of Earthly Delights


Problem: Given the below context:  Charles-Camille Saint-Saëns (French: [ʃaʁlkamij sɛ̃sɑ̃s]; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886). Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas. As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death. Saint-Saëns held only one teaching post, at the École de Musique Classique et Religieuse in Paris, and remained there for less than five years. It was nevertheless important in the development of French music: his students included Gabriel Fauré, among whose own later pupils was Maurice Ravel. Both of them were strongly influenced by Saint-Saëns, whom they revered as a genius.  Guess a valid title for it!

A: Camille Saint-Saëns


Problem: Given the below context:  Set in Chicago in the 1930s, Bigger Thomas, an African American who lives in an impoverished neighborhood, is employed by a prosperous white family who live in the suburbs of a major city. The money Bigger makes at his new job will be used to supplement his mother's income. As a chauffeur, he is directed by the father of the family to take Mary, the daughter, to the university. Instead, Mary decides to pick up her Socialist boyfriend, Jan, and to spend the time drinking and partying.  Jan and Mary portray a young liberal couple who venture into a black neighborhood with Bigger for the sole purpose of being entertained at Ernie's, a black nightclub. On the way home, Mary becomes inebriated and Bigger must get her to her bedroom without being detected. Mary's mother, who is blind, enters the room and Bigger panics at the thought of being caught with a white woman. He accidentally kills Mary by placing a pillow over her head to keep her quiet. Still frightened, Bigger disposes of the body in the furnace, possibly because he feels he would not get a fair trial for the accidental death of a white woman. Meanwhile, Jan is wanted by the police for Mary's murder and Bigger plays a role in the accusations against him.  Guess a valid title for it!

A:
Native Son (1986 film)