Background: William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, and Anne Gibbons. In his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the street life of the metropolis and the London fairs, and amused himself by sketching the characters he saw. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St John's Gate, was imprisoned for debt in Fleet Prison for five years.
Context: In 1743-1745, Hogarth painted the six pictures of Marriage a-la-mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials.  Marital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire - a genre that by definition has a moral point to convey - of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series, which is set in a Classical interior, shows the story of the fashionable marriage of Viscount Squanderfield, the son of bankrupt Earl Squander, to the daughter of a wealthy but miserly city merchant, starting with the signing of a marriage contract at the Earl's mansion and ending with the murder of the son by his wife's lover and the suicide of the daughter after her lover is hanged at Tyburn for murdering her husband.  William Makepeace Thackeray wrote:  This famous set of pictures contains the most important and highly wrought of the Hogarth comedies. The care and method with which the moral grounds of these pictures are laid is as remarkable as the wit and skill of the observing and dexterous artist. He has to describe the negotiations for a marriage pending between the daughter of a rich citizen Alderman and young Lord Viscount Squanderfield, the dissipated son of a gouty old Earl ... The dismal end is known. My lord draws upon the counselor, who kills him, and is apprehended while endeavouring to escape. My lady goes back perforce to the Alderman of the City, and faints upon reading Counsellor Silvertongue's dying speech at Tyburn (place of execution in old London), where the counselor has been 'executed for sending his lordship out of the world. Moral: don't listen to evil silver-tongued counselors; don't marry a man for his rank, or a woman for her money; don't frequent foolish auctions and masquerade balls unknown to your husband; don't have wicked companions abroad and neglect your wife, otherwise you will be run through the body, and ruin will ensue, and disgrace, and Tyburn.
Question: What does marriage a la mode mean?
Answer: In 1743-1745, Hogarth painted the six pictures of Marriage a-la-mode (National Gallery, London), a pointed skewering of upper-class 18th-century society.

Background: Ford was born at the Swedish Covenant Hospital in Chicago, Illinois to Christopher Ford (born John William Ford), an advertising executive and former actor, and Dorothy (nee Nidelman), a former radio actress. His father is Irish and his mother is Jewish. A younger brother, Terence, was born in 1945. Ford's paternal grandparents, John Fitzgerald Ford and Florence Veronica Niehaus, were of Irish Catholic and German descent, respectively.
Context: In 1964, after a season of summer stock with the Belfry Players in Wisconsin, Ford traveled to Los Angeles to apply for a job in radio voice-overs. He did not get it, but stayed in California and eventually signed a $150-a-week contract with Columbia Pictures' New Talent program, playing bit roles in films. His first known role was an uncredited one as a bellhop in Dead Heat on a Merry-Go-Round (1966). There is little record of his non-speaking roles (or "extra" work) in film. Ford was at the bottom of the hiring list, having offended producer Jerry Tokovsky after he played a bellboy in the feature. He was told by Tokovsky that when actor Tony Curtis delivered a bag of groceries, he did it like a movie star; Ford felt his job was to act like a bellboy. Ford managed to secure other roles in movies, such as A Time for Killing (The Long Ride Home), starring Glenn Ford; George Hamilton; and Inger Stevens.  His speaking roles continued next with Luv (1967), though he was still uncredited. He was finally credited as "Harrison J. Ford" in the 1967 Western film A Time for Killing, but the "J" did not stand for anything, since he has no middle name. It was added to avoid confusion with a silent film actor named Harrison Ford, who appeared in more than 80 films between 1915 and 1932 and died in 1957. Ford later said that he was unaware of the existence of the earlier actor until he came upon a star with his own name on the Hollywood Walk of Fame. Ford soon dropped the "J" and worked for Universal Studios, playing minor roles in many television series throughout the late 1960s and early 1970s, including Gunsmoke, Ironside, The Virginian, The F.B.I., Love, American Style, and Kung Fu. He appeared in the western Journey to Shiloh (1968) and had an uncredited, non-speaking role in Michelangelo Antonioni's 1970 film Zabriskie Point as an arrested student protester. Not happy with the roles being offered to him, Ford became a self-taught professional carpenter to support his then-wife and two young sons.  Casting director and fledgling producer Fred Roos championed the young Ford and secured him an audition with George Lucas for the role of Bob Falfa, which Ford went on to play in American Graffiti (1973). Ford's relationship with Lucas would profoundly affect his career later on. After director Francis Ford Coppola's film The Godfather was a success, he hired Ford to expand his office and gave him small roles in his next two films, The Conversation (1974) and Apocalypse Now (1979); in the latter film he played an army officer named "G. Lucas".
Question: What was Ford's first film?
Answer:
His first known role was an uncredited one as a bellhop in Dead Heat on a Merry-Go-Round (1966).