<http://webisa.webdatacommons.org/prov/102405212>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/324210371> .
<http://webisa.webdatacommons.org/prov/141537124>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/324210371> .
<http://webisa.webdatacommons.org/324210371>	<http://www.w3.org/1999/02/22-rdf-syntax-ns#type>	<http://www.w3.org/ns/prov#Entity> .
<http://webisa.webdatacommons.org/prov/106877641>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/324210371> .
<http://webisa.webdatacommons.org/prov/457626887>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/324210371> .
<http://webisa.webdatacommons.org/prov/103327020>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/324210371> .
<http://webisa.webdatacommons.org/324210371>	<http://www.w3.org/ns/prov#wasQuotedFrom>	<utas.edu.au> .
<http://webisa.webdatacommons.org/324210371>	<http://www.w3.org/ns/prov#value>	"In spite of the evident attention given to the composition of sound in his films - he has, after all, worked closely with musicians such as Ry Cooder, Willie Nelson, Nick Cave, Daniel Lanois, and U2 - the centrality of the image is the topic to which Wim Wenders has returned on numerous occasions in films, lectures,and conversations." .