‘It's all the way you look at it, you know’: reading Bill ‘Bojangles’ Robinson's film career

This paper engages with a major paradox in African American tap dancer Bill ‘Bojangles’ Robinson's film image – namely, its concurrent adherences to and contestations of dehumanising racial iconography – to reveal the complex and often ambivalent ways in which identity is staged and enacted. Although Robinson is often understood as an embodiment of popular cultural imagery historically designed to dehumanise African Americans, this paper shows that Robinson's artistry displaces these readings by providing viewing pleasure for black, as much as white, audiences. Robinson's racially segregated scenes in Dixiana (1930) and Hooray for Love (1935) illuminate classical Hollywood's racial codes, whilst also showing how his inclusion within these otherwise all-white films provides grounding for creative and self-reflexive artistry. The films' references to Robinson's stage image and artistry overlap with minstrelsy-derived constructions of ‘blackness’, with the effect that they heighten possible interpretations of his cinematic persona by evading representational conclusion. Ultimately, Robinson's films should be read as sites of representational struggle that help to uncover the slipperiness of performances of African American identities in 1930s Hollywood

Remembering slavery on screen: Paul Robeson in The Song of Freedom (1936)

This article examines cinematic remembrances of the Atlantic slave trade through the lens of Paul Robeson-starring British film The Song of Freedom (1936). An exceptional visualization of the horrors of the Middle Passage in transatlantic interwar cinema, the production nevertheless recapitulates an abolitionist visual paradigm characterized by lacunae and distortion. Yet, it also serves as an exploration of African independence driven by Robeson's self-reflexive performance, demand for script approval and stardom. Robeson's measure of authorial influence over the film represents a unique instance in British cinema in which a black performer was able to reframe dehumanizing representations of historical black experiences into a hopeful vision of an independent black future

Dance anthropology and the impact of 1930s Haiti on Katherine Dunham's scientific and artistic consciousness

Katherine Dunham (1909-2006) was one of the most critically and commercially successful dancers of the twentieth century. She established and ran the Katherine Dunham Dance Company, the earliest self-supporting predominantly black dance company and one of the first modern dance troupes to achieve international success. She was also one of the first African Americans to conduct anthropological fieldwork, and the first anthropologist to explore the function of dance in rituals and community life. Her observations of dance rituals whilst working as a graduate researcher in 1930s Haiti played a formative role in her dance. Her choreographic method combined Caribbean cultural forms with ballet and modern dance practices and has had a profound but rarely acknowledged influence on twentieth century dance. This article examines Dunham's anthropological memoir, Island Possessed (1969), to explore the formative role that Haiti played on Dunham's scientific and artistic consciousness. It contends that Island Possessed articulates a highly reflexive engagement with ethnography, re-envisaging anthropological research as a space of intercultural exchange. It shows how the text sheds light on a lifelong project by Dunham to enact an artistic and cultural legitimization of Haiti by incorporating its ritual dance forms onto the concert dance stage, an endeavour that would ensure a significant Haitian influence over North American dance throughout the mid-twentieth century

"Tap Dancing on the Racial Boundary": Racial Representation and Artistic Experimentation in the Films of Bill "Bojangles" Robinson

This thesis engages with a major paradox in Bill "Bojangles" Robinson's Hollywood image - namely, its concurrent adherences to and contestations of dehumanising racial iconography - to reveal the ways in which performances of "blackness" work to both establish and challenge cultural boundaries. I will consider Robinson's cinematic image in relation to two competing cultural forces: values of what constitutes "blackness" and individual artistic experimentation. My readings will draw upon Richard Dyer's (1986) notion that "the audience is also part of the making of the image," and Eric Lott's (1993) argument that popular culture is "a place where cultures of the dispossessed are routinely commodified and conteste" to reveal the interplay between Hollywood production values, the subjectivities of the audience and Robinson's own interpretation of his roles. Unlike previous critics, most notably Donald Bogle (1973), who have sought to ascribe a fixed interpretation to Robinson's screen image, I will contend that he constructs a persona and artistic legacy that defies a straightforward reading. Although Robinson's film roles are often understood as embodiments of popular cultural imagery historically designed to dehumanise and emasculate the African American male, I will show that their concurrent dealings in artistic experimentation displace these readings by providing viewing pleasure for black, as much as white, audiences. Through a focus on Robinson's three major characterisations - the white female child's servant (The Little Colonel, The Littlest Rebel), the all-black musical entertainer (Stormy Weather), and the segregated performance act (Dixiana, Hooray for Love) - I aim to establish Robinson's films as sites of representational struggle which help to uncover the slipperiness of identity

Cinematic “pas de deux”: the dialogue between Maya Deren's experimental filmmaking and Talley Beatty's black ballet dancer in A Study in Choreography for Camera (1945)

A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer

RECQL5 controls transcript elongation and suppresses genome instability associated with transcription stress

RECQL5 is the sole member of the RECQ family of helicases associated with RNA polymerase II (RNAPII). We now show that RECQL5 is a general elongation factor that is important for preserving genome stability during transcription. Depletion or overexpression of RECQL5 results in corresponding shifts in the genome-wide RNAPII density profile. Elongation is particularly affected, with RECQL5 depletion causing a striking increase in the average rate, concurrent with increased stalling, pausing, arrest, and/or backtracking (transcription stress). RECQL5 therefore controls the movement of RNAPII across genes. Loss of RECQL5 also results in the loss or gain of genomic regions, with the breakpoints of lost regions located in genes and common fragile sites. The chromosomal breakpoints overlap with areas of elevated transcription stress, suggesting that RECQL5 suppresses such stress and its detrimental effects, and thereby prevents genome instability in the transcribed region of genes

‘It's all the way you look at it, you know’: reading Bill ‘Bojangles’ Robinson's film career

This paper engages with a major paradox in African American tap dancer Bill ‘Bojangles’ Robinson's film image – namely, its concurrent adherences to and contestations of dehumanising racial iconography – to reveal the complex and often ambivalent ways in which identity is staged and enacted. Although Robinson is often understood as an embodiment of popular cultural imagery historically designed to dehumanise African Americans, this paper shows that Robinson's artistry displaces these readings by providing viewing pleasure for black, as much as white, audiences. Robinson's racially segregated scenes in Dixiana (1930) and Hooray for Love (1935) illuminate classical Hollywood's racial codes, whilst also showing how his inclusion within these otherwise all-white films provides grounding for creative and self-reflexive artistry. The films' references to Robinson's stage image and artistry overlap with minstrelsy-derived constructions of ‘blackness’, with the effect that they heighten possible interpretations of his cinematic persona by evading representational conclusion. Ultimately, Robinson's films should be read as sites of representational struggle that help to uncover the slipperiness of performances of African American identities in 1930s Hollywood

Expansion of the Human Phenotype Ontology (HPO) knowledge base and resources.

The Human Phenotype Ontology (HPO)-a standardized vocabulary of phenotypic abnormalities associated with 7000+ diseases-is used by thousands of researchers, clinicians, informaticians and electronic health record systems around the world. Its detailed descriptions of clinical abnormalities and computable disease definitions have made HPO the de facto standard for deep phenotyping in the field of rare disease. The HPO\u27s interoperability with other ontologies has enabled it to be used to improve diagnostic accuracy by incorporating model organism data. It also plays a key role in the popular Exomiser tool, which identifies potential disease-causing variants from whole-exome or whole-genome sequencing data. Since the HPO was first introduced in 2008, its users have become both more numerous and more diverse. To meet these emerging needs, the project has added new content, language translations, mappings and computational tooling, as well as integrations with external community data. The HPO continues to collaborate with clinical adopters to improve specific areas of the ontology and extend standardized disease descriptions. The newly redesigned HPO website (www.human-phenotype-ontology.org) simplifies browsing terms and exploring clinical features, diseases, and human genes

The development and validation of a scoring tool to predict the operative duration of elective laparoscopic cholecystectomy

Background: The ability to accurately predict operative duration has the potential to optimise theatre efficiency and utilisation, thus reducing costs and increasing staff and patient satisfaction. With laparoscopic cholecystectomy being one of the most commonly performed procedures worldwide, a tool to predict operative duration could be extremely beneficial to healthcare organisations. Methods: Data collected from the CholeS study on patients undergoing cholecystectomy in UK and Irish hospitals between 04/2014 and 05/2014 were used to study operative duration. A multivariable binary logistic regression model was produced in order to identify significant independent predictors of long (> 90 min) operations. The resulting model was converted to a risk score, which was subsequently validated on second cohort of patients using ROC curves. Results: After exclusions, data were available for 7227 patients in the derivation (CholeS) cohort. The median operative duration was 60 min (interquartile range 45–85), with 17.7% of operations lasting longer than 90 min. Ten factors were found to be significant independent predictors of operative durations > 90 min, including ASA, age, previous surgical admissions, BMI, gallbladder wall thickness and CBD diameter. A risk score was then produced from these factors, and applied to a cohort of 2405 patients from a tertiary centre for external validation. This returned an area under the ROC curve of 0.708 (SE = 0.013, p  90 min increasing more than eightfold from 5.1 to 41.8% in the extremes of the score. Conclusion: The scoring tool produced in this study was found to be significantly predictive of long operative durations on validation in an external cohort. As such, the tool may have the potential to enable organisations to better organise theatre lists and deliver greater efficiencies in care

Mutations in DONSON disrupt replication fork stability and cause microcephalic dwarfism

To ensure efficient genome duplication, cells have evolved numerous factors that promote unperturbed DNA replication and protect, repair and restart damaged forks. Here we identify downstream neighbor of SON (DONSON) as a novel fork protection factor and report biallelic DONSON mutations in 29 individuals with microcephalic dwarfism. We demonstrate that DONSON is a replisome component that stabilizes forks during genome replication. Loss of DONSON leads to severe replication-associated DNA damage arising from nucleolytic cleavage of stalled replication forks. Furthermore, ATM- and Rad3-related (ATR)-dependent signaling in response to replication stress is impaired in DONSON-deficient cells, resulting in decreased checkpoint activity and the potentiation of chromosomal instability. Hypomorphic mutations in DONSON substantially reduce DONSON protein levels and impair fork stability in cells from patients, consistent with defective DNA replication underlying the disease phenotype. In summary, we have identified mutations in DONSON as a common cause of microcephalic dwarfism and established DONSON as a critical replication fork protein required for mammalian DNA replication and genome stability