IN: Alaska Natives are indigenous peoples of Alaska, United States: Inupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of the Alaska Natives are known to have migrated into the area thousands of years ago, in at least two different waves.

Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives. New settlements around trading posts were started by Russians, including Russian Orthodox missionaries. These were the first to translate Christian scripture into Native languages. British and American traders generally did not reach the area until the nineteenth century, and in some cases missionaries were not active until the twentieth century. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska are generally composed mostly of Alaska Natives.  Rather than hunting the marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased and they forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. On some islands and parts of the Alaska Peninsula, groups of traders had been capable of relatively peaceful coexistence with the local inhabitants. Other groups could not manage the tensions. Russians took hostages, families were split up, and individuals were forced to leave their villages and settle elsewhere. The growing competition between the trading companies, merging into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives.  As the animal populations declined, the Aleuts, already too dependent on the new barter economy created by the Russian fur trade, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many and destroying their boats and hunting gear, leaving them no means of survival.  The most devastating effects were from disease: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These were then endemic among the Europeans, but the Aleut had no immunity against the new diseases.

What else is notable about this time period?

OUT: 80 percent of the Aleut population died from Eurasian infectious diseases.

input: Granger's first starring film role was as the acid-tongued Rokeby in the Gainsborough Pictures period melodrama, The Man in Grey (1943), a film that helped to make him and his three co-stars - James Mason, Phyllis Calvert and Margaret Lockwood - into box office names in Britain.  Granger followed it with The Lamp Still Burns (1943) playing the love interest of nurse Rosamund John. More popular was another for Gainsborough Pictures, Fanny by Gaslight (1944), which reunited him with Calvert and Mason, and added Jean Kent. The New York Times reported that Granger "is a young man worth watching. The customers... like his dark looks and his dash; he puts them in mind, they say of Cary Grant." It was the second most popular film at the British box office in 1944.  Another hit was Love Story (1944) where he plays a blind pilot who falls in love with terminally ill Margaret Lockwood, with Patricia Roc co-starring. Granger filmed this at the same time as Waterloo Road (1945), playing his first villain, a "spiv" who has run off with the wife of John Mills. This film was popular too, and it is one of Granger's favourites.  Madonna of the Seven Moons (1945), with Calvert and Roc, was more Gainsborough melodrama, another hit. Also popular was Caesar and Cleopatra, supporting Claude Rains and Vivien Leigh; this film lost money because of its high production cost but was widely seen, and was the first of Granger's films to be a hit in the USA. At the end of 1945 British exhibitors voted Granger the second-most popular British film star, and the ninth-most popular overall. The Times reported that "this six-foot black-visaged ex-soldier from the Black Watch is England's Number One pin up boy. Only Bing Crosby can match him for popularity."  Caravan (1946), starring Granger and Kent, was the sixth most popular film at the British box office in 1946. Also well liked was The Magic Bow (1946), with Calvert and Kent, where Granger played Niccolo Paganini That year he was voted the third-most popular British star, and the sixth-most popular overall.

Answer this question "Did Granger work on movies during this time?"
output:
Granger's first starring film role was as the acid-tongued Rokeby in the Gainsborough Pictures period melodrama, The Man in Grey (1943), a film