Multiply reconfigurable ‘plug and play’ molecular logic via self-assembly

A substantial set of ion-driven molecular logic gates are implemented in turn by arranging the association between easily available lumophores and receptors in detergent micelles.

Funding, ideology and the aesthetics of the development film in postcolonial Zimbabwe

This article considers the relationships between aesthetics and ideology in donor-funded ‘development’ film-making from Zimbabwe, examining in particular how the films’ producers have attempted to popularize a genre of film-making that has its roots in colonial cinema. Making close reference to two productions from the Harare-based Media for Development Trust (MFD) – Neria (Godwin Mawaru, 1992), and Everyone’s Child (Tsitsi Dangarembga, 1996) (both of which may be regarded as archetypal examples of their genre) – the article demonstrates how the films deploy a range of aesthetic strategies to imbue a set of narratives drawn from colonial development films with greater impact and cultural resonance for contemporary local audiences. The article also suggests that close analysis of these strategies may provide insights into the relationships between the films’ aesthetic dimensions and wider ideological issues in the region.

Jagged/Notch signalling is required for a subset of TGFβ1 responses in human kidney epithelial cells.

The Jagged/Notch pathway has been implicated in TGFß1 responses in epithelial cells in diabetic nephropathy and other fibrotic conditions in vivo. Here, we identify that Jagged/Notch signalling is required for a subset of TGFß1-stimulated gene responses in human kidney epithelial cells in vitro. TGFß1 treatment of HK-2 and RPTEC cells for 24 h increased Jagged1 (a Notch ligand) and Hes1 (a Notch target) mRNA. This response was inhibited by co-incubation with Compound E, an inhibitor of ?-secretase (GSI), an enzyme required for Notch receptor cleavage and transcription regulation. In both cell types, TGFß1-responsive genes associated with epithelial–mesenchymal transition such as E-cadherin and vimentin were also affected by ?-secretase inhibition, but other TGFß1 targets such as connective tissue growth factor (CTGF) and thrombospondin-1 (THBS1) were not. TGFß1-induced changes in Jagged1 expression preceded EMT-associated gene changes, and co-incubation with GSI altered TGFß1-induced changes in cell shape and cytoskeleton. Transfection of cells with the activated, cleaved form of Notch (NICD) triggered decreased expression of E-cadherin in the absence of TGFß1, but did not affect a-smooth muscle actin expression, suggesting differential requirements for Notch signalling within the TGFß1-responsive gene subset. Increased Jagged1 expression upon TGFß1 exposure required Smad3 signalling, and was also regulated by PI3K and ERK. These data suggest that Jagged/Notch signalling is required for a subset of TGFß1-responsive genes, and that complex signalling pathways are involved in the crosstalk between TGFß1 and Notch cascades in kidney epithelia.


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`No dream is ever just a dream': Stanley Kubrick's Eyes Wide Shut as monofilm

This article examines Stanley Kubrick's final film, Eyes Wide Shut (1999), in relation to its source text, J.M.Q. Davies's 1999 translation of Arthur Schnitzler's Traumnovelle/Dream Story, originally published in 1926. Both the film and the novel are viewed through the lens of monodrama, a dramatic genre characterized by the attempt to convey the subjective psychical experience of a strong central protagonist. Monodramatic traits may also be found in the novel and film, and the article explores how this adaptation typifies certain aspects of the monodrama form and how those traits are portrayed through the specific conventions and limitations of the differing media.

When Shiels met Liberace: a skirmish with the canon of Irish theatre

Just Shiels, the product of one of the first practice as research programmes undertaken by a theatre professional within the environment of an Irish university, ‘activates’ in performance the archives of the Northern Irish dramatist George Shiels (1881–1949). The play explores Shiels's marginalization from the canon of Irish theatre on grounds of his embodied position as a disabled person, his status as a Northerner writing plays to be performed across the border in the new free Irish state, his geographical peripherality to the centre of theatrical activity in Dublin and his choice of popular forms in his dramaturgy. Just Shiels was first performed in May 2008 at Queen's University Drama Centre, Belfast. This article seeks to explore to what degree Shiels's choice of popular forms and his serious physical impairment might be implicated in his marginalization. It was first delivered as a plenary session to the American Conference for Irish Studies in New York, in October 2008.

Modes of Griot Inscription in African Cinema

A recurring idea in criticism of African cinema has been that the films frequently deploy the narrative techniques of ‘the griot’, the storyteller of African tradition. In particular, Manthia Diawara (1989) has alerted us to the inscription of the oral narrator within the visual discourse of particular African films, while other critics have considered how the films recall the narrative forms of traditional oral tales. However, these critics’ exclusive attention to the visual track and/or narrative form overlooks another inscription of the griot - an inscription that exists at the level of music. Examining music and image relationships in an aesthetically diverse set of African films, this paper demonstrates how griot inscription emerges as a major variable, modulating between music and image within and between texts. This propels music, and the griot, to a status of primary importance in terms of understanding the ways in which the films engage with, and re-appropriate, notions of ‘African-ness’, while negotiating the tensions of address generated when oral forms of narrative meet the literate, industrial form of cinema.