There’s one intriguing phenomenon worth pointing out in the trend of there being art works that are shown to be in the film, but which are made completely unrecognizable. Some of the ones below could maybe be traced by some genius supercomputer (or someone with a lot more free time than me (good luck!)), but some are completely beyond recognition. I don’t think there’s a point to them beyond giving the sense that there is art in the film that cannot be ID’d.
Perhaps on a subliminal level, they discourage the kind of research I’ve done, by making it seem like, well, you’ll never ID them all, so why try? As hopefully you’ve already realized, there’s a very good reason to try.
Update: I’ve actually ID’d two of these now: the bloodfall piece turned out to be FH Varley’s Arpeggio, and the twinhall piece that turned out to be Nicholas de Grandmaison’s Chief Bear Paw. Both of these were determined thanks to context clues. So, given that the ski posters are likely of minor relevance, and that the one behind him outside 237 is likely another John Webber etching, this really only leaves the snowy trees above Danny’s bed, and the Greco-Roman banner from Boulder, both of which feel attainable to me now. Also, the two pieces above Wendy in the lounge I now believe could simply be the corners of doors. So it’s possible the only truly unattainable one is the one he’s triking past on his way to 237, which can’t be got because it’s literally outside the frame.
To go to the start of the section looking at
all the literary references in the film, click here
RETURN TO
EYE SCREAM 