Q: Given the below context:  Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling...  Guess a valid title for it!
A: Madonna in the Church


Question: Given the below context:  Dr. Frank Peralta is stabbed to death in his apartment one night. The detective on the case, Lt. Stevenson, quickly finds multiple witnesses putting Peralta's lover, Terry Collins, at the scene. However, when Stevenson finds Terry and questions her, she has an iron-clad alibi with multiple witnesses. It is revealed that Terry has an identical twin sister, Ruth, and the pair share the same job and routinely switch places for their own benefit. Stevenson and the district attorney are unable to prosecute, since the twins refuse to confirm which one of them has the alibi. Unable to accept the "perfect crime", Lt. Stevenson asks Dr. Scott Elliot for help. Scott is an expert on twin study, and has been routinely encountering the Collins twins at their shared place of work, but does not know which one is which. As a front, Scott asks Terry and Ruth if he can study both of them individually as part of his research. The twins accept, though Ruth is worried that Scott might find out that Terry was at Peralta's apartment the night of the murder. However, Terry is attracted to Scott and insists that they can keep the secret for the sake of seeing him. She also comforts Ruth, reminding her that she was only at Peralta's apartment but didn't kill him. From Scott's psychological tests and by spending time with them, he discovers that Ruth is kind and loving, while Terry is highly intelligent, insane, and has been manipulating Ruth almost their entire lives. Terry is jealous that people keep preferring Ruth over her, and is again enraged when Scott falls in love with Ruth instead of her. Terry starts methodically gaslighting Ruth, making her believe that she's hallucinating and going insane, in the hopes of pushing her to suicide.  Guess a valid title for it!
Answer: The Dark Mirror (film)


Question: Given the below context:  In an animated sequence, a plane flying through the fictional Bukuvu region in the heart of Africa crashes. A child on board the plane, George, disappears into the jungle and is raised by a sapient, talking gorilla named Ape. Twenty-five years later, George, who enjoys swinging on vines to move about but has a habit of crashing into trees, has grown to be King of the Jungle. Ursula Stanhope, a San Francisco heiress, tours Uganda with local guide Kwame and a trio of porters. Ursula is tracked down and joined by her fiancé, Lyle Van De Groot, with two poachers named Max and Thor. Kwame tells the group of the "White Ape", a local legend of a superhuman primate that rules the jungle. The next day Lyle, insistent on taking Ursula home as soon as possible, goes into the jungle with her to find the White Ape and they are attacked by a lion. Lyle knocks himself out trying to flee while Ursula is saved by George. George takes Ursula to his treehouse home and cares for her, introducing her to Shep, an African bush elephant that acts like George's dog, and Tookie, a toco toucan. George is smitten with Ursula and attempts to woo her; Ursula reciprocates his attraction, and her time spent with George makes her no longer wish to return home. Lyle, Max and Thor find the treehouse and Lyle confronts Ursula and George. Max and Thor make to shoot Shep for his ivory, and Ape shouts at Shep to run. Everyone is stunned by the sight of a talking ape and Max and Thor decide to tranquilize and capture him. George runs to stop them and is accidentally shot by Lyle, who thought his gun was a novelty lighter. Lyle and the poachers are imprisoned and Lyle is identified as the shooter by the porters; Max and Thor are released and resolve to capture Ape to make a fortune in Las Vegas. Meanwhile, Ursula takes George home to get medical help for his wound and to see the human world he belongs in.  Guess a valid title for it!
Answer:
George of the Jungle (film)