The fiercest comedy ever made about Europe's invasion of North America, set at the millenium turnover, Kubrick steals Woody Allen's genre and landscape and piles on the droll. Initially imagined for Steve Martin and Diane Keaton, EWS acquires other metaphors with its Cruise/Kidman-ization. C-K seem to have won the wrestling match. Between these two scenes below Dr. Bill Harford (Harvard) will visit a dead body named Lou Nathanson, where in a green room with a christmas tree, a woman will attempt seduction over her father's dead body. Far from a fetish experience, EWS is proof film is the borderline between the unconscious and the conscious.

Clues are endless (this entry has ten) yet the decryption is quite simple. Too simple.

Writers equating or comparing Nolan (and Inception) to Kubrick are revealing how tragically inept their reviewing skills are. Nolan is a product of the age of criminal science, his films are primarily tales of crime and guilt.  Their overlap is minimal at best: he employs only rarely similar symbols of Kubrick, they share neither themes, nor archetypes and certainly not storytelling or visual styles. While both may be misidentified as pessimists, equating them is like saying Dostoyevsky and Tolstoy are similar because they both wrote in Russian during the 19th century. On very basic levels they are in complete opposition: Nolan gravitates programmatically towards 'gotcha' plots, stories that reveal twists in mechanics forced into the camera's foreground to shock an audience, Kubrick kept a sedate, steady distance from his characters and arcs to allow the audience to find his numerous mode-jerks on their own, if they even really wanted or needed them, and in most cases they were entirely unnecessary, his films could succeed without an audience detecting any of them. To label Nolan as "Kubrick with a heart" is the dullard's paradox, Nolan might properly be argued as "Kubrick without a heart," but audiences seem to be seduced by Nolan's orgiastic suffering that operates as soul. Nolan is really "James Bond with a heart" but reviewers probably feel low expressing that cold reality. Strange culture we inhabit now, isn't it?

"If Mandela is not available, perhaps Morgan Freeman can step in. The Oscar-nominated actor who played in Mandela in “Invictus” will be at the match."   — Wireservices

The brain stores events as memory in a form of compression called the Empirical Modification Cycle. Below is an apt summary of this taken from the events of the mid-1800's. Two meteors (Frederic Church 1860 and unknown 1868), both staggeringly bright, are rendered as images. One looks like an accurate image, it's shown against a dusk, the meteor is shown as an irregular streak of debris, the other is monochromatic and highly contrasted, instead of a literal meteor, a simplified symbol stands in, a simplified fireball more comet than meteor, yet we absorb both images as if the meteor is 'accurate.'

From the article "Security Tops the Environment in China's Energy Plan" which has a lexemic use of security.

"That belief has underpinned China’s rapid expansion in renewable energy, because it tends to be made in China, Mr. Li said. China has just emerged as the world’s largest manufacturer of wind turbines and solar panels, and plans to be the world’s biggest builder of nuclear power plants in the coming decade. It invested nearly twice as much as the United States last year in renewable energy."

ICELANDIC MODERN MEDIA INITIATIVE

http://www.immi.is/