There's enduring magic in the idea of an artist undiscovered during her time but later acknowledged as a true original. The likes of Claude Monet and Vincent van Gogh faced harsh criticism during life, only to become two of the most recognizable names in art after death. It's a theme touched on in several of 2014's best films, including Mr. Turner and The Imitation Game. As for the latter, whatever device you're using to read this, you owe in no small part to Alan Turing.

Of course we, the consumers of this genius, reveal plenty about ourselves as we consume. Who doesn't feel an extra thrill at the discovery of something long undiscovered? Who doesn't feel a sliver of pride, however irrational, at appreciating the dead? It appeals to our human resistance to mortality. For once the bellows of time makes the fire burn a little brighter instead of clearing away the ash of the past. And for those of us who create anything, it represents hope that our work will someday touch someone, even if after our time is up.

A particularly tasty bite of these themes fell onto my plate recently, when I watched the documentary doubleheader of Finding Vivian Maier--nominated by Oscar this year for Best Documentary Feature--and Wild Combination: A Portrait of Arthur Russell--released in 2008.