However Odd—Elsa Lanchester!

The article is concerned with Elsa Lanchester as an anti-star figure in British Cinema in the 1920s. It makes a comparison with the performance style of Alexandra Khokhlova in films made with the Kuleshov Workshop in Russia, suggesting that both actresses drew on a similar range of sources (notably, Bode, Duncan, Jaques-Dalcroze and Chaplin). While both seem willing to parodize themselves, embracing ugliness, their eccentrism simultaneously provides something of an ironic commentary on the ideal feminine “types” presented by Hollywood and Hollywood’s commodification of particular notions of feminine beauty

Caroline Lejeune

Caroline Lejeune, better known to readers of her reviews as C.A. Lejeune or even simply C.A. L., said that The Mark of Zorro (1920) determined her choice of career. She liked to remark that she and the cinema were almost of the same age. C.P. Scott, then editor of the Manchester Guardian, was a family friend. He made the necessary introductions to the London editor of the newspaper and young Caroline left Manchester for the capital, chaperoned by her mother. Having previously provided anonymous pieces for the Guardian‘s Women’s Page and in an article titled “The Undiscovered Aesthetic,” giving “an impassioned plea for recognition by ‘discriminating’ persons of kinematography” (68), she was given her own column, “The Week on the Screen,” in 1921. “To celebrate the event, I bought myself a packet of gold-tipped Aristons, and mother and I recklessly shared a nip of medicinal brandy,” she recalled (A. Lejeune 1991, 27). But Caroline did not forget her early film-going experiences, and in a typically atmospheric piece in Cinema (1931) recalled queuing with a charwoman and a professor on a cobbled street, in the wind and rain, to see the great Alla Nazimova

Pudovkin and Pavlov's dog.

Available from British Library Document Supply Centre-DSC:DXN015092 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo

Sparrows can't sing : East End kith and kinship in the 1960s

Sparrows Can’t Sing (1963) was the only feature film directed by the late and much lamented Joan Littlewood. Set and filmed in the East End, where she worked for many years, the film deserves more attention than it has hitherto received. Littlewood’s career spanned documentary (radio recordings made with Ewan MacColl in the North of England in the 1930s) to directing for the stage and the running of the Theatre Royal in London’s Stratford East, often selecting material which aroused memories in local audiences (Leach 2006: 142). Many of the actors trained in her Theatre Workshop subsequently became better known for their appearances on film and television. Littlewood herself directed hardly any material for the screen: Sparrows Can’t Sing and a 1964 series of television commercials for the British Egg Marketing Board, starring Theatre Workshop’s Avis Bunnage, were rare excursions into an area of practice which she found constraining and unamenable (Gable 1980: 32). The hybridity and singularity of Littlewood’s feature may answer, in some degree, for its subsequent neglect. However, Sparrows Can’t Sing makes a significant contribution to a group of films made in Britain in the 1960s which comment generally on changes in the urban and social fabric. It is especially worthy of consideration, I shall argue, for the use which Littlewood made of a particular community’s attitudes – sentimental and critical – to such changes and for its amalgamation of an attachment to documentary techniques (recording an aural landscape on location) with a preference for nonnaturalistic delivery in performance

The Influence of Climate and Livestock Reservoirs on Human Cases of Giardiasis.

Giardia duodenalis is an intestinal parasite which causes diarrhoeal illness in people. Zoonotic subtypes found in livestock may contribute to human disease occurrence through runoff of manure into multi-use surface water. This study investigated temporal associations among selected environmental variables and G. duodenalis occurrence in livestock reservoirs on human giardiasis incidence using data collected in the Waterloo Health Region, Ontario, Canada. The study objectives were to: (1) evaluate associations between human cases and environmental variables between 1 June 2006 and 31 December 2013, and (2) evaluate associations between human cases, environmental variables and livestock reservoirs using a subset of this time series, with both analyses controlling for seasonal and long-term trends. Human disease incidence exhibited a seasonal trend but no annual trend. A Poisson multivariable regression model identified an inverse association with water level lagged by 1 month (IRR = 0.10, 95% CI 0.01, 0.85, P < 0.05). Case crossover analysis found varying associations between lagged variables including livestock reservoirs (1 week), mean air temperature (3 weeks), river water level (1 week) and flow rate (1 week), and precipitation (4 weeks). This study contributes to our understanding of epidemiologic relationships influencing human giardiasis cases in Ontario, Canada

James Blair Historical Review

The mission of the James Blair Historical Review is to publish the College of William and Mary’s best undergraduate history research papers, and thereby showcase the talent of the College’s history students and the strength of her Department of History. The Historical Review seeks to provide a professional platform through which students can explore historically significant themes and issues.The Field of Cloth of Gold: Henry VIII’s Display of Princely Magnificence -Ami Limoncelli Sacrifice and Salvation: Religious Drama in Colonial Mexico -Andrew DiAntonio Insurrections and Independence: How the Gunpowder Incident Thrust British and Afro-Virginians into the American Revolution -Nicole Lidstrom “Black as an Indian and Dirty as a Pig” The Unexpected Perseverance of Female Hospital Workers during America’s Civil War -Anna Storm Australian Aboriginal Rights The 1967 Referendum -Lisa Keppl

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Introduction

info:eu-repo/semantics/publishe

From Moscow with love

One of the less researched aspects of postcolonial India’s “progressive” culture is its Soviet connection. Starting in the 1950s and consolidating in the 1960s, the Union of Soviet Socialist Republics invested in building up “committed” networks amongst writers, directors, actors, and other theater- and film-practitioners across India. Thus, an entire generation of cultural professionals was initiated into the anticolonial solidarity of emerging Afro-Asian nations that were seen, and portrayed, by the Soviets as being victims of “Western” imperialism. The aspirational figure of the New Soviet Man was celebrated through the rise of a new form of “transactional sociality” (Westlund 2003). This paper looks at selected cases of cultural diplomacy—through the lens of cultural history—between the USSR and India for two decades after India’s Independence, exploring the possibility of theorizing it from the perspective of an anticolonial cultural solidarity that allowed agency to Indian interlocutors

The Novel Deacetylase Inhibitor AR-42 Demonstrates Pre-Clinical Activity in B-Cell Malignancies In Vitro and In Vivo

While deacetylase (DAC) inhibitors show promise for the treatment of B-cell malignancies, those introduced to date are weak inhibitors of class I and II DACs or potent inhibitors of class I DAC only, and have shown suboptimal activity or unacceptable toxicities. We therefore investigated the novel DAC inhibitor AR-42 to determine its efficacy in B-cell malignancies.In mantle cell lymphoma (JeKo-1), Burkitt's lymphoma (Raji), and acute lymphoblastic leukemia (697) cell lines, the 48-hr IC(50) (50% growth inhibitory concentration) of AR-42 is 0.61 microM or less. In chronic lymphocytic leukemia (CLL) patient cells, the 48-hr LC(50) (concentration lethal to 50%) of AR-42 is 0.76 microM. AR-42 produces dose- and time-dependent acetylation both of histones and tubulin, and induces caspase-dependent apoptosis that is not reduced in the presence of stromal cells. AR-42 also sensitizes CLL cells to TNF-Related Apoptosis Inducing Ligand (TRAIL), potentially through reduction of c-FLIP. AR-42 significantly reduced leukocyte counts and/or prolonged survival in three separate mouse models of B-cell malignancy without evidence of toxicity.Together, these data demonstrate that AR-42 has in vitro and in vivo efficacy at tolerable doses. These results strongly support upcoming phase I testing of AR-42 in B-cell malignancies