Problem: Background: Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
Context: In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms.  Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived.  Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Question: What were the other styles?
Answer: The animal style was found in Scandinavia,

IN: The Blackfoot Confederacy, Niitsitapi or Siksikaitsitapi (nitmowmeko, meaning "the people" or "Blackfoot-speaking real people") is a historic collective name for the four bands that make up the Blackfoot or Blackfeet people: three First Nation band governments in the provinces of Saskatchewan, Alberta, and British Columbia, and one federally recognized Native American tribe in Montana, United States. The Siksika ("Blackfoot"), the Kainai or Kainah ("Blood"), and the Northern Piegan or Peigan or Piikani ("Apa'tosee" or "Poor Robes") reside in Canada; the Southern Piegan/Piegan Blackfeet ("Amskapi Piikani" or Pikuni) are located in the United States, where they are also known as the Blackfeet Nation. In modern use, the term is sometimes used only for the three First Nations in Canada. Historically, the member peoples of the Confederacy were nomadic bison hunters and trout fishermen, who ranged across large areas of the northern Great Plains of western North America, specifically the semi-arid shortgrass prairie ecological region.

The Niitsitapi main source of food on the plains was the American bison (buffalo), the largest mammal in North America, standing about 6 1/2 feet (2.0 m) tall and weighing up to 2,000 pounds (910 kg). Before the introduction of horses, the Niitsitapi needed other ways to get in range. The buffalo jump was one of the most common ways. The hunters would round up the buffalo into V-shaped pens, and drive them over a cliff (they hunted pronghorn antelopes in the same way). Afterwords the hunters would go to the bottom and take as much meat as they could carry back to camp. They also used camouflage for hunting. The hunters would take buffalo skins from previous hunting trips and drape them over their bodies to blend in and mask their scent. By subtle moves, the hunters could get close to the herd. When close enough, the hunters would attack with arrows or spears to kill wounded animals.  The people used virtually all parts of the body and skin. The women prepared the meat for food: by boiling, roasting or drying for jerky. This processed it to last a long time without spoiling, and they depended on bison meat to get through the winters. The winters were long, harsh, and cold due to the lack of trees in the Plains, so people stockpiled meat in summer. As a ritual, hunters often ate the bison heart minutes after the kill. The women tanned and prepared the skins to cover the tepees. These were made of log poles, with the skins draped over it. The tepee remained warm in the winter and cool in the summer, and was a great shield against the wind.  The women also made clothing from the skins, such as robes and moccasins, and made soap from the fat. Both men and women made utensils, sewing needles and tools from the bones, using tendon for fastening and binding. The stomach and bladder were cleaned and prepared for use for storing liquids. Dried bison dung was fuel for the fires. The Niitsitapi considered the animal sacred and integral to their lives.

what kind of camouflage did they use?

OUT: The hunters would take buffalo skins from previous hunting trips and drape them over their bodies to blend in and mask their scent.

Background: Bobby Darin (born Walden Robert Cassotto; May 14, 1936 - December 20, 1973) was an American singer, songwriter, multi-instrumentalist, and actor in film and television. He performed jazz, pop, rock and roll, folk, swing, and country music. He started his career as a songwriter for Connie Francis.
Context: In the fall of 1959, Darin played "Honeyboy Jones" in an early episode of Jackie Cooper's CBS military sitcom/drama, Hennesey set in San Diego, California. In 1960, he appeared twice as himself in NBC's short-lived crime drama Dan Raven, starring Skip Homeier and set on the Sunset Strip of West Hollywood. In the same year, he was the only actor ever to have been signed to five major Hollywood film studios. He wrote music for several films in which he appeared.  His first major film, Come September (1961), was a teenager-oriented romantic comedy with Rock Hudson and Gina Lollobrigida and featuring 18-year-old actress Sandra Dee. They first met during the production of the film, fell in love, and got married soon afterwards. Dee gave birth to a son, Dodd Mitchell Darin (also known as Morgan Mitchell) on December 16, 1961. Dee and Darin made a few films together with moderate success. They divorced in 1967.  In 1961 he starred in Too Late Blues, John Cassavetes' first film for a major Hollywood studio, as a struggling jazz musician. Writing in 2012, Los Angeles Times critic Dennis Lim observed that Darin was "a surprise in his first nonsinging role, willing to appear both arrogant and weak."  In 1962, Darin won the Golden Globe Award for "New Star of the Year - Actor" for his role in Come September. The following year he was nominated for the Golden Globe Award for "Best Performance by an Actor in a Motion Picture - Drama" (Best actor) in Pressure Point.  In 1963, he was nominated for an Academy Award for Best Supporting Actor for his role as a shell-shocked soldier in Captain Newman, M.D.. At the Cannes Film Festival he won the French Film Critics Award for best actor.  In October 1964, he appeared as a wounded ex-convict who is befriended by an orphan girl in "The John Gillman Story" episode of NBC's Wagon Train western television series.
Question: Did the film do well?
Answer: