After the Revolution of 1979, as the new government imposed new laws and standards, a new age in Iranian cinema emerged, starting with Viva... by Khosrow Sinai and followed by many other directors, such as Abbas Kiarostami and Jafar Panahi. Kiarostami, an admired Iranian director, planted Iran firmly on the map of world cinema when he won the Palme d'Or for Taste of Cherry in 1997. The continuous presence of Iranian films in prestigious international festivals, such as the Cannes Film Festival, the Venice Film Festival, and the Berlin International Film Festival, attracted world attention to Iranian masterpieces. In 2006, six Iranian films, of six different styles, represented Iranian cinema at the Berlin International Film Festival. Critics considered this a remarkable event in the history of Iranian cinema.
Which Iranian director won the Palm d'Or at Cannes in 1997?
Abbas Kiarostami


Input: The Blitz
Within the Luftwaffe, there was a more muted view of strategic bombing. The OKL did not oppose the strategic bombardment of enemy industries and or cities, and believed it could greatly affect the balance of power on the battlefield in Germany's favour by disrupting production and damaging civilian morale, but they did not believe that air power alone could be decisive. Contrary to popular belief, the Luftwaffe did not have a systematic policy of what became known as "terror bombing". Evidence suggests that the Luftwaffe did not adopt an official bombing policy in which civilians became the primary target until 1942.

What was the name of the Luftwaffe's bombing raids?
Output: terror bombing


Input: Article: A widely publicised example of institutionalised sexual slavery are "comfort women", a euphemism for the 200,000 women, mostly from Korea and China, who served in the Japanese army's camps during World War II. Some 35 Dutch comfort women brought a successful case before the Batavia Military Tribunal in 1948. In 1993, Chief Cabinet Secretary Yohei Kono said that women were coerced into brothels run by Japan's wartime military. Other Japanese leaders have apologized, including former Prime Minister Junichiro Koizumi in 2001. In 2007, then-Prime Minister Shinzō Abe claimed: "The fact is, there is no evidence to prove there was coercion."

Now answer this question: How many women are believed to have been sexual slaves for the Japenese Army?

Output: 200,000


Article: Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.

Question: Along with Margaret Sullavan, what notable film talent left Universal after the Standard Capital takeover?
Ans: William Wyler


Here is a question about this article: Nintendo was not as restrictive as Sega, which did not permit third-party publishing until Mediagenic in late summer 1988. Nintendo's intention, however, was to reserve a large part of NES game revenue for itself. Nintendo required that they be the sole manufacturer of all cartridges, and that the publisher had to pay in full before the cartridges for that game be produced. Cartridges could not be returned to Nintendo, so publishers assumed all the risk. As a result, some publishers lost more money due to distress sales of remaining inventory at the end of the NES era than they ever earned in profits from sales of the games. Because Nintendo controlled the production of all cartridges, it was able to enforce strict rules on its third-party developers, which were required to sign a contract by Nintendo that would obligate these parties to develop exclusively for the system, order at least 10,000 cartridges, and only make five games per year. A 1988 shortage of DRAM and ROM chips also reportedly caused Nintendo to only permit 25% of publishers' requests for cartridges. This was an average figure, with some publishers receiving much higher amounts and others almost none. GameSpy noted that Nintendo's "iron-clad terms" made the company many enemies during the 1980s. Some developers tried to circumvent the five game limit by creating additional company brands like Konami's Ultra Games label; others tried circumventing the 10NES chip.
What is the answer to this question: As cartridges couldn't be returned to Nintendo, the developers took on the entirety of what?
****
So... risk


Article: Computers control functions at many utilities, including coordination of telecommunications, the power grid, nuclear power plants, and valve opening and closing in water and gas networks. The Internet is a potential attack vector for such machines if connected, but the Stuxnet worm demonstrated that even equipment controlled by computers not connected to the Internet can be vulnerable to physical damage caused by malicious commands sent to industrial equipment (in that case uranium enrichment centrifuges) which are infected via removable media. In 2014, the Computer Emergency Readiness Team, a division of the Department of Homeland Security, investigated 79 hacking incidents at energy companies.

Question: How did the Stuxnet worm infect industrial equipment?
Ans:
via removable media