user: Question: 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!
Answer: Madonna in the Church

Question: Given the below context:  Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution. The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat. As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies. When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization. His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down. Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death. We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.  Guess a valid title for it!
Answer: Confessions of a Vice Baron

Question: Given the below context:  James Hart starts his first year at Harvard Law School in a very bad way. In his contract law course with Professor Charles W. Kingsfield Jr., he assumes the first class will be an outline of the course. When Kingsfield immediately delves into the material using the Socratic method and asks Hart the first question, Hart is totally unprepared and feels so utterly humiliated that, after class, he throws up in the bathroom. Hart is invited to join a study group with five other students:  Franklin Ford, the fifth generation of Fords at Harvard Law School Kevin Brooks, a married man with a photographic memory, but no analytical skills Thomas Anderson Willis Bell, an abrasive individual who is devoted to property law O'Connor (Robert Lydiard)While out getting pizza, Hart is asked by a woman, Susan Fields, to walk her home, due to her feeling uncomfortable with a man who had been following her. Hart returns to her house soon after and asks her on a date, after which they begin a relationship. Their relationship is complex; she resents the time he devotes to his studies, while he expects her to provide him with a great deal of attention and wants a firm commitment. When Hart and his classmates are invited to a cocktail party hosted by Kingsfield, he is stunned to discover that Susan is Kingsfield's married daughter. (She is, however, separated from her husband and eventually gets a divorce.) She and Hart break up and get back together several times. Hart divides the class into three groups: those who have given up; those who are trying, but fear being called upon in class to respond to Kingsfield's questions; and the "upper echelon". As time goes on, he moves from the second classification to the third. Late one night, Hart and another student break into a secured room of the library and read personal notes Kingsfield had taken when he was a law student.  Guess a valid title for it!
Answer:

assistant: The Paper Chase (film)