Background: "Vogue" is a song by American singer Madonna from her second soundtrack album I'm Breathless (1990). It was released as the first single from the album on March 27, 1990, by Sire Records. Madonna was inspired by vogue dancers and choreographers Jose Gutierez Xtravaganza and Luis Xtravaganza from the Harlem "House Ball" community, the origin of the dance form, and they introduced "Vogueing" to her at the Sound Factory club in New York City. "
Context: The video was directed by David Fincher and shot at The Burbank Studios in Burbank, California on February 10-11, 1990. According to Lucy O'Brien in her book Madonna: Like an Icon, the video was brought together after a "huge casting call" in Los Angeles where hundreds of different sorts of dancers appeared.  Filmed in black-and-white, the video recalls the look of films and photography from The Golden Age of Hollywood with the use of artwork by the Art Deco artist Tamara de Lempicka and an Art Deco set design. Many of the scenes are recreations of photographs taken by noted photographer Horst P. Horst, including his famous Mainbocher Corset, Lisa with Turban (1940), and Carmen Face Massage (1946). Horst was reportedly "displeased" with Madonna's video because he never gave his permission for his photographs to be used and received no acknowledgement from Madonna. Some of the close-up poses recreate noted portraits of such stars as Marilyn Monroe, Veronica Lake, Greta Garbo, Marlene Dietrich, Katharine Hepburn, Judy Garland and Jean Harlow. (Additionally, several stars of this era were name-checked in the song's lyrics.) Several famous Hollywood portrait photographers whose style and works are referenced include George Hurrell, Eugene Robert Richee, Don English, Whitey Schafer, Ernest Bachrach, Scotty Welbourne, Laszlo Willinger, and Clarence Sinclair Bull.  The video features the dancers for Madonna's then-upcoming Blond Ambition Tour - Donna De Lory, Niki Harris, Luis Xtravaganza Camacho, Jose Gutierez Xtravaganza, Salim Gauwloos, Carlton Wilborn, Gabriel Trupin, Oliver Crumes and Kevin Stea. The choreography was set by "Punk Ballerina" Karole Armitage. The video premiered worldwide on MTV on March 29, 1990, and it also premiered on BET on November 22 that same year, making itthe first video by Madonna to air on an African-American channel.  There are two versions of the video, the regularly aired television music video, and the 12-inch remix, which is the extended version over three minutes longer.
Question: Did Fincher direct other Madonna videos?
Answer: According to Lucy O'Brien in her book Madonna: Like an Icon, the video was brought together after a "huge casting call" in Los Angeles

Background: Browning was born as Charles Albert Browning, Jr., in Louisville, Kentucky, the second son of Charles Albert and Lydia Browning, and the nephew of baseball star Pete Browning. As a young boy, he put on amateur plays in his backyard. He was fascinated by the circus and carnival life, and at the age of 16 he ran away from his well-to-do family to become a performer. Changing his name to "Tod", he traveled extensively with sideshows, carnivals, and circuses.
Context: Browning's feature film debut was Jim Bludso (1917), about a riverboat captain who sacrifices himself to save his passengers from a fire. It was well received.  Browning moved back to New York in 1917. He directed two films for Metro Studios, Peggy, the Will O' the Wisp and The Jury of Fate. Both starred Mabel Taliaferro, the latter in a dual role achieved with double exposure techniques that were groundbreaking for the time. He moved back to California in 1918 and produced two more films for Metro, The Eyes of Mystery and Revenge.  In the spring of 1918 he left Metro and joined Bluebird Productions, a subsidiary of Universal Pictures, where he met Irving Thalberg. Thalberg paired Browning with Lon Chaney for the first time for the film The Wicked Darling (1919), a melodrama in which Chaney played a thief who forces a poor girl (Priscilla Dean) from the slums into a life of crime and possibly prostitution. Browning and Chaney would ultimately make ten films together over the next decade.  The death of his father sent Browning into a depression that led to alcoholism. He was laid off by Universal and his wife left him. However, he recovered, reconciled with his wife, and got a one-picture contract with Goldwyn Pictures. The film he produced for Goldwyn, The Day of Faith, was a moderate success, putting his career back on track.  Thalberg reunited Browning with Lon Chaney for The Unholy Three (1925), the story of three circus performers who concoct a scheme to use disguises to con and steal jewels from rich people. Browning's circus experience shows in his sympathetic portrayal of the antiheroes. The film was a resounding success, so much so that it was later remade in 1930 as Lon Chaney's first (and only) talkie shortly before his death later that same year. Browning and Chaney embarked on a series of popular collaborations, including The Blackbird and The Road to Mandalay. The Unknown (1927), featuring Chaney as an armless knife thrower and Joan Crawford as his scantily clad carnival girl obsession, was originally titled Alonzo the Armless and could be considered a precursor to Freaks in that it concerns a love triangle involving a circus freak, a beauty, and a strongman. London After Midnight (1927) was Browning's first foray into the vampire genre and is a highly sought-after lost film which starred Chaney, Conrad Nagel, and Marceline Day. The last known print of London After Midnight was destroyed in an MGM studio fire in 1967. In 2002, a photographic reconstruction of London After Midnight was produced by Rick Schmidlin for Turner Classic Movies. Browning and Chaney's final collaboration was Where East is East (1929), of which only incomplete prints have survived. Browning's first talkie was The Thirteenth Chair (1929), which was also released as a silent and featured Bela Lugosi, who had a leading part as the uncanny inspector, Delzante, solving the mystery with the aid of the spirit medium. This film was directed shortly after Browning's vacation trip to Germany (arriving in the Port of New York, November 12, 1929).
Question: What was Browning's first silent film?
Answer:
1917.