Edvard Munch (Norwegian pronunciation: [ˈmʉŋk], 12 December 1863 – 23 January 1944) was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is The Scream of 1893.

Edvard Munch was born in a rustic farmhouse in the village of Ådalsbruk in Løten, to Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura Catherine Bjølstad, a woman half his age, in 1861. Edvard had an elder sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Catherine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have inherited their artistic talent from their mother. Edvard Munch was related to painter Jacob Munch (1776–1839) and historian Peter Andreas Munch (1810–1863).

The family moved to Christiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard's mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877. After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied, and received tutoring from his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories and tales of Edgar Allan Poe.

Peter Watkins (born 29 October 1935) is an English film and television director. He was born in Norbiton, Surrey, lived in Sweden, Canada and Lithuania for many years, and now lives in France. He is one of the pioneers of docudrama. His movies, pacifist and radical, strongly review the limit of classic documentary and movies. He mainly concentrates his works and ideas around the mass media and our relation/participation to a movie or television documentary.

Nearly all of Watkins' films have used a combination of dramatic and documentary elements to dissect historical occurrences or possible near future events. The first of these, Culloden, portrayed the Jacobite uprising of 1745 in a documentary style, as if television reporters were interviewing the participants and accompanying them into battle; a similar device was used in his biographical film Edvard Munch. La Commune (Paris, 1871) reenacts the Paris Commune days using a large cast of French non-actors.

In 2004 he also wrote a book, Media Crisis, an engaged essay about the media crisis, the monoform and, foremost, the lack of debate around the construction of new forms of audiovisual media.