Problem: Background: Luzzatti was born of Jewish parents in Venice on 11 March 1841. After completing his studies in law at the University of Padua, he attracted the attention of the Austrian police by his lectures on political economy, and was obliged to emigrate after starting a mutual aid society among gondoliers. In 1863 he obtained a professorship at the Milan Technical Institute; in 1867 he was appointed professor of constitutional law at Padua, whence he was transferred to the University of Rome. Gifted with eloquence and energy, he popularized the economic ideas of Franz Hermann Schulze-Delitzsch in Italy, worked for the establishment of a commercial college at Venice, and contributed to the spread of people's banks on a basis of limited liability throughout the country.
Context: Appointed minister of the treasury in the first Di Rudini cabinet of 1891, he imprudently abolished the system of frequent clearings of banknotes between the state banks, a measure which facilitated the duplication of part of the paper currency and hastened the bank crisis of 1893 and the resulting Banca Romana scandal. A Parliamentary Commission that investigated the bank scandal concluded that former Prime Minister Francesco Crispi, Prime Minister Giovanni Giolitti, and Luzzatti, had been aware of the conditions of the Banca Romana but had held back that information.  In 1896 he entered the second Di Rudini cabinet as minister of the treasury, and by timely legislation helped to save the bank of Naples from failure. Following the revolt and suppression of the Fasci Siciliani (1891-1894), Luzzatti introduced two measures of social legislation in 1898. The industrial workmen's compensation scheme from 1883 was made obligatory with the employer bearing all costs; and a voluntary fund for contributory disability and old age pensions was created.  After his fall from office in June 1898, his principal achievement was the negotiation of the Franco-Italian commercial treaty, though, as deputy, journalist and professor, he continued to take an active part in all political and economic manifestations. He was again minister of the treasury from November 1903 to March 1905 in Giolitti's second administration, and for the third time from February to May 1906, under Sonnino's premiership. During the latter term of office he achieved the conversion of the Italian 5% debt (reduced to 4% by the tax) to 3 3/4 % to be eventually lowered to 3 1/2 %, an operation which other ministers had attempted without success; although the actual conversion was not completed until after the fall of the cabinet of which he formed part the merit is entirely his. In 1907 he was president of the co-operative congress at Cremona.
Question: What was he accused of in the scandal?
Answer: a measure which facilitated the duplication of part of the paper currency and hastened the bank crisis of 1893 and the resulting Banca Romana scandal.

Problem: Background: Departures (Japanese: okuribito, Hepburn: Okuribito, "one who sends off") is a 2008 Japanese drama film directed by Yojiro Takita and starring Masahiro Motoki, Ryoko Hirosue, and Tsutomu Yamazaki. Loosely based on Coffinman, a memoir by Shinmon Aoki, the film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a nokanshi--a traditional Japanese ritual mortician. He is subjected to prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he earns their respect and learns the importance of interpersonal connections through the beauty and dignity of his work.
Context: Japanese funerals are highly ritualized affairs which are generally--though not always--conducted in accordance with Buddhist rites. In preparation for the funeral, the body is washed and the orifices are blocked with cotton or gauze. The encoffining ritual (called nokan), as depicted in Departures, is rarely performed, and even then only in rural areas. This ceremony is not standardized, but generally involves professional morticians (Na Guan Shi , nokanshi) ritually preparing the body, dressing the dead in white, and sometimes applying make-up. The body is then put on dry ice in a casket, along with personal possessions and items necessary for the trip to the afterlife.  Despite the importance of death rituals, in traditional Japanese culture the subject is considered unclean as everything related to death is thought to be a source of kegare (defilement). After coming into contact with the dead, individuals must cleanse themselves through purifying rituals. People who work closely with the dead, such as morticians, are thus considered unclean, and during the feudal era those whose work was related to death became burakumin (untouchables), forced to live in their own hamlets and discriminated against by wider society. Despite a cultural shift since the Meiji Restoration of 1868, the stigma of death still has considerable force within Japanese society, and discrimination against the untouchables has continued.  Until 1972, most deaths were dealt with by families, funeral homes, or nokanshi. As of 2014, about 80% of deaths occur in hospitals, and preparation of the bodies is frequently done by hospital staff; in such cases, the family often does not see the body until the funeral. A 1998 survey found that 29.5% of the Japanese population believed in an afterlife, and a further 40% wanted to believe; belief was highest among the young. Belief in the existence of a soul (54%) and a connection between the worlds of the living and the dead (64.9%) was likewise common.
Question: What was the greatest cultural background factor affecting the film?
Answer:
People who work closely with the dead, such as morticians, are thus considered unclean, and during the feudal era those whose work was related to death became burakumin (untouchables),