[Q]: Given the below context:  By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen. It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora.  Guess a valid title for it!
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[A]: Musidora: The Bather 'At the Doubtful Breeze Alarmed'


[Q]: Given the below context:  An older couple, Frank and Mary Sylvester, are cooking food over a campfire. Unbeknownst to them, they are being watched by a mysterious figure in the shadows. While Mary is taking a walk in the woods, she hears her husband scream and returns to the campsite to find her husband's decapitated corpse. She is then killed by the killer wielding her husband's axe.  Several weeks later, three teenaged couples are hiking in the same remote forest high in the Colorado Rockies to enjoy the nature and to spend time together. As they progress deeper into the wilderness, it becomes clear that the killer is stalking them. During their first night in the woods, Gail hears a noise and sends her boyfriend Greg to check out the disturbance. While isolated, they are both murdered by the killer. The next day, their friends Nancy, Bobbie, Skip, and Joel find the couple's gear missing and assume that they have turned back and gone home. Skip and Joel decide to head for the infamous Suicide Peak to do some rock climbing while the girls suntan. Meanwhile, forest rangers Lester Tile and Mark O'Brien get a phone call about the missing Sylvester couple, and Mark heads into the forest to investigate. Before leaving, Lester tells Mark a story about a Gypsy boy he once saw during a forest fire years ago. The boy was covered in burns, horribly disfigured, and left for dead.  Guess a valid title for it!
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[A]: The Prey (1980 film)


[Q]: Given the below context:  Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult (1853–1950), and his wife Katharine Florence née Barman (d. 1927). Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy. When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by Hans Richter. He was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, and Richard Strauss. His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend.At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor Hugh Allen. Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend. In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, and all his life he remained a member of the Leander Club.  Guess a valid title for it!
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[A]:
Adrian Boult