Answer the question at the end by quoting:

The Tlingit language (English: , ; Tlingit: Lingit [linkit]) is spoken by the Tlingit people of Southeast Alaska and Western Canada. It is a branch of the Na-Dene language family. Extensive effort is being put into revitalization programs in Southeast Alaska to revive and preserve the Tlingit language and culture. Missionaries of the Russian Orthodox Church were the first to develop a written version of Tlingit, using the Cyrillic script to record and translate it, when the Russian Empire had contact with Alaska and the coast of North America down to Sonoma County, California.
Tlingit has a complex system of pronominals, which vary depending on their relationship to the verb. The subject pronominals are incorporated into the verb in its subject slot. The object pronominals are also technically incorporated into the verb (i.e. the verb "complex"), but most are graphically independent. They are divided into three classes, the verbal object, nominal object, and postpositional object. There are also the independent pronominals which are completely separate from the verb and can be used in dependent clauses or in subject or object position.  The pronominals all have related semantic values, and their organization can hence easily be visualized in a table.  The numbers in the first column represent the usual concept of person, i.e. first, second, or third. Story and Naish identified a fourth person, but this term is inappropriate since they did not describe a clear separation between the so-called fourth person and the other impersonal pronominals.  When analyzing a sentence, the pronominal type is given first, then the form (subject, object, independent) is given following a period. This uniquely represents the pronominal as a two dimensional unit. Thus 1SINGULAR SUBJECT is the first person singular subject pronominal, realized as xhat. The RECIPROCAL does not uniquely identify one of the two reciprocal pronominals, but since they are both phonetically identical as woosh, it is generally unnecessary to uniquely identify them.  There is also a notional zeroth person which can be of subject, object, or independent form. This is not realized in Tlingit, instead it is an empty placeholder for analysis.

How is the language created?

The subject pronominals are incorporated into the verb in its subject slot.



Answer the question at the end by quoting:

Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire.  In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio.  In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good.  She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."

what types of movies did she work in?