Classifier Instance:

Anchor text: Gilda
Target Entity: Gilda
Preceding Context: Rita is the mysterious and helpless apparent victim, a classic femme fatale with her dark, strikingly beautiful appearance. Roger Ebert was so impressed with Harring that he said of her "all she has to do is stand there and she is the first good argument in 55 years for a
Succeeding Context: remake". She serves as the object of desire, directly oppositional to Betty's bright self-assuredness. She is also the first character with whom the audience identifies, and as viewers know her only as confused and frightened, not knowing who she is and where she is going, she represents their desire to make sense of the film through her identity. Instead of threatening, she inspires Betty to nurture, console, and help her. Her amnesia makes her a blank persona, that one reviewer notes, is "the vacancy that comes with extraordinary beauty and the onlooker's willingness to project any combination of angelic and devilish onto her". A character analysis of Rita asserts that her actions are the most genuine of the first portion of the film, since she has no memory and nothing to use as a frame of reference for how to behave. Todd McGowan, however, author of a book on themes in Lynch's films, states that the first portion of Mulholland Drive can be construed as Rita's fantasy, until Diane Selwyn is revealed; Betty is the object that overcomes Rita's anxiety about her loss of identity. According to film historian Steven Dillon, Diane transitions a former roommate into Rita: following a tense scene where the roommate collects her remaining belongings, Rita appears in the apartment, smiling at Diane.
Paragraph Title: null
Source Page: Mulholland Drive (film)

Ground Truth Types:

Predicted Types:

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