Problem: Background: Carroll Baker was born and raised in Johnstown, Pennsylvania, in a Roman Catholic family, the daughter of Edith Gertrude (nee Duffy) and William Watson Baker, a traveling salesman. She is of Polish descent, which has given rise to a rumor that her birth name was Karolina Piekarski. However, this currently cannot be substantiated by known records. Baker's parents separated when she was eight years old, and she moved with her mother and younger sister, Virginia, to Turtle Creek, Pennsylvania.
Context: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi.  Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world."  She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".
Question: What was the next film she was in?
Answer: This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971).

Problem: Background: Karen Horney was born Karen Danielsen on 16 September 1885 in Blankenese, Germany, near Hamburg. Her father, Berndt Wackels Danielsen (1836-1910), was Norwegian but had German citizenship. He was a ship's captain in the merchant marine, and a Protestant traditionalist (his children nicknamed him "the Bible-thrower", as he did indeed throw Bibles). Her mother, Clotilde, nee van Ronzelen (1853-1911), known as "Sonni", was also Protestant, of Dutch origin.
Context: Horney looked at neurosis in a different light from other psychoanalysts of the time. Her expansive interest in the subject led her to compile a detailed theory of neurosis, with data from her patients. Horney believed neurosis to be a continuous process--with neuroses commonly occurring sporadically in one's lifetime. This was in contrast to the opinions of her contemporaries who believed neurosis was, like more severe mental conditions, a negative malfunction of the mind in response to external stimuli, such as bereavement, divorce or negative experiences during childhood and adolescence. This has been debated widely by contemporary psychologists.  Horney believed these stimuli to be less important, except for influences during childhood. Rather, she placed significant emphasis on parental indifference towards the child, believing that a child's perception of events, as opposed to the parent's intentions, is the key to understanding a person's neurosis. For instance, a child might feel a lack of warmth and affection should a parent make fun of the child's feelings. The parent may also casually neglect to fulfill promises, which in turn could have a detrimental effect on the child's mental state.  From her experiences as a psychiatrist, Horney named ten patterns of neurotic needs. These ten needs are based upon things which she thought all humans require to succeed in life. Horney modified these needs somewhat to correspond with what she believed were individuals' neuroses. A neurotic person could theoretically exhibit all of these needs, though in practice much fewer than the ten here need to be present for a person to be considered a neurotic.
Question: what was  Horney's career or position?
Answer:
a psychiatrist,