Masochism, Marginality, and the Metropolis: Kutlug Ataman\u27s Lola and Billy the Kid

Baltimore: What you get is what you see While sitting at the window of City Café, a gay café in Baltimore, I let my eyes wander to the other side of the street where a group of young gay black men were camping it up

31st Annual Meeting and Associated Programs of the Society for Immunotherapy of Cancer (SITC 2016) : part two

Background The immunological escape of tumors represents one of the main ob- stacles to the treatment of malignancies. The blockade of PD-1 or CTLA-4 receptors represented a milestone in the history of immunotherapy. However, immune checkpoint inhibitors seem to be effective in specific cohorts of patients. It has been proposed that their efficacy relies on the presence of an immunological response. Thus, we hypothesized that disruption of the PD-L1/PD-1 axis would synergize with our oncolytic vaccine platform PeptiCRAd. Methods We used murine B16OVA in vivo tumor models and flow cytometry analysis to investigate the immunological background. Results First, we found that high-burden B16OVA tumors were refractory to combination immunotherapy. However, with a more aggressive schedule, tumors with a lower burden were more susceptible to the combination of PeptiCRAd and PD-L1 blockade. The therapy signifi- cantly increased the median survival of mice (Fig. 7). Interestingly, the reduced growth of contralaterally injected B16F10 cells sug- gested the presence of a long lasting immunological memory also against non-targeted antigens. Concerning the functional state of tumor infiltrating lymphocytes (TILs), we found that all the immune therapies would enhance the percentage of activated (PD-1pos TIM- 3neg) T lymphocytes and reduce the amount of exhausted (PD-1pos TIM-3pos) cells compared to placebo. As expected, we found that PeptiCRAd monotherapy could increase the number of antigen spe- cific CD8+ T cells compared to other treatments. However, only the combination with PD-L1 blockade could significantly increase the ra- tio between activated and exhausted pentamer positive cells (p= 0.0058), suggesting that by disrupting the PD-1/PD-L1 axis we could decrease the amount of dysfunctional antigen specific T cells. We ob- served that the anatomical location deeply influenced the state of CD4+ and CD8+ T lymphocytes. In fact, TIM-3 expression was in- creased by 2 fold on TILs compared to splenic and lymphoid T cells. In the CD8+ compartment, the expression of PD-1 on the surface seemed to be restricted to the tumor micro-environment, while CD4 + T cells had a high expression of PD-1 also in lymphoid organs. Interestingly, we found that the levels of PD-1 were significantly higher on CD8+ T cells than on CD4+ T cells into the tumor micro- environment (p < 0.0001). Conclusions In conclusion, we demonstrated that the efficacy of immune check- point inhibitors might be strongly enhanced by their combination with cancer vaccines. PeptiCRAd was able to increase the number of antigen-specific T cells and PD-L1 blockade prevented their exhaus- tion, resulting in long-lasting immunological memory and increased median survival

Ming Wong’s Imitations

The article "Ming Wong's Imitations" analyzes the installation Life of Imitation, created by visual artist Ming Wong for the Singapore Pavilion at the 53rd Venice Biennale in 2009. Life of Imitation restages a key scene from Douglas Sirk's 1959 melodrama Imitation of Life, in which the African American character Annie visits her daughter Sarah Jane who is passing as white. In Wong's restaging three male actors from different ethnic groups in Singapore reenact the scene, but switch roles at every cut. The article traces the shifts from the original literary source, Fannie Hurst's 1933 Imitation of Life to John M. Stahl's 1934 film of the same title to Sirk's version. Emphasizing melodrama's organizing structure of "too late," I show how Sirk shifted the melodramatic emphasis from the white mother/daughter pair's romantic conflict to the African American mother/daughter pair's racial conflict. Addressing the question whether such a shift implies a progressive politics, I turn to the contentious discussion of Sirk's earlier film work in Weimar and Nazi Germany, pointing to ideological and formal continuities.In contrast to these significant shifts in the different instantiations of the text, I propose that the different versions share the subordination and disavowal of ethnic difference in order to construct a racial binary, which then becomes the setting of the passing narrative organized around the 'tragic mulatta'. I illustrate my argument with the instances of ethnic passing of the writers, directors, and actors involved in the different versions of the text. However, I also show the appeal of racial passing narratives can have for a gay camp imagination, identification, and appropriation. I conclude the article with a discussion of Wong's double move in Life of Imitation of returning ethnic bodies that have been excised from the original diegesis to their significance and appropriating the gendered melodrama through cross-dressing. After a survey of the term "remediation" as it emerged from the discussion of new media, I show that Wong's piece belongs to a group of works by visual artists who remake film in digital media in the environment of the art space. I conclude with reading the effect of rotating the actors at each cut, which does not subvert spatial and temporal continuity, but challenges spectators' perception of ethnicity and gender, and produces unstable identities.

Masochism, Marginality, and the Metropolis: Kutlug Ataman's Lola and Billy the Kid

Baltimore: "What you get is what you see" While sitting at the window of "City Café," a gay café in Baltimore, I let my eyes wander to the other side of the street where a group of young gay black men were camping it up

Ming Wong’s Imitations

The article "Ming Wong's Imitations" analyzes the installation Life of Imitation, created by visual artist Ming Wong for the Singapore Pavilion at the 53rd Venice Biennale in 2009. Life of Imitation restages a key scene from Douglas Sirk's 1959 melodrama Imitation of Life, in which the African American character Annie visits her daughter Sarah Jane who is passing as white. In Wong's restaging three male actors from different ethnic groups in Singapore reenact the scene, but switch roles at every cut. The article traces the shifts from the original literary source, Fannie Hurst's 1933 Imitation of Life to John M. Stahl's 1934 film of the same title to Sirk's version. Emphasizing melodrama's organizing structure of "too late," I show how Sirk shifted the melodramatic emphasis from the white mother/daughter pair's romantic conflict to the African American mother/daughter pair's racial conflict. Addressing the question whether such a shift implies a progressive politics, I turn to the contentious discussion of Sirk's earlier film work in Weimar and Nazi Germany, pointing to ideological and formal continuities.In contrast to these significant shifts in the different instantiations of the text, I propose that the different versions share the subordination and disavowal of ethnic difference in order to construct a racial binary, which then becomes the setting of the passing narrative organized around the 'tragic mulatta'. I illustrate my argument with the instances of ethnic passing of the writers, directors, and actors involved in the different versions of the text. However, I also show the appeal of racial passing narratives can have for a gay camp imagination, identification, and appropriation. I conclude the article with a discussion of Wong's double move in Life of Imitation of returning ethnic bodies that have been excised from the original diegesis to their significance and appropriating the gendered melodrama through cross-dressing. After a survey of the term "remediation" as it emerged from the discussion of new media, I show that Wong's piece belongs to a group of works by visual artists who remake film in digital media in the environment of the art space. I conclude with reading the effect of rotating the actors at each cut, which does not subvert spatial and temporal continuity, but challenges spectators' perception of ethnicity and gender, and produces unstable identities.

Criss-Crossing in Global Space and Time: Fatih Akın’s The Edge of Heaven (2007)

In this essay, I argue that The Edge of Heaven constitutes a sophisticated and complex, and in part seemingly paradoxical, response to globalization. I suggest that the film captures the effects of globalization’s most pronounced characteristics. Transnational mobility, digital media, and the increased speed of transportation and information technology have changed narrative conventions, perception of time and space, and the structure of intimacy and familial relations. The film portrays the interconnected local belonging and global mobility characteristic of transnational culture and captures what geographer David Harvey has labeled the “time-space compression” of globalization, the result of increased speed of transportation and communication technologies