Nitric oxide and ethylnitrosourea: relative mutagenicity in the p53 tumor suppressor and hypoxanthine-phosphoribosyltransferase genes.

Nitric oxide (NO) is a cellular messenger which is mutagenic in bacteria and human TK6 cells and induces deamination of 5-methylcytosine (5meC) residues in vitro. The aims of this study were: (i) to investigate whether NO induces 5meC deamination in codon 248 of the p53 gene in cultured human bronchial epithelial cells (BEAS-2B); and (ii) to compare NO mutagenicity to that of ethylnitrosourea (ENU), a strong mutagen. Two approaches were used: (i) a novel genotypic assay, using RFLP/PCR technology on purified exon VII sequence of the p53 gene; and (ii) a phenotypic (HPRT) mutation assay using 6-thioguanine selection. BEAS-2B cells were either exposed to 4 mM DEA/NO (Et2N[N2O2]Na, an agent that spontaneously releases NO into the medium) or transfected with the inducible nitric oxide synthase (iNOS) gene. The genotypic mutation assay, which has a sensitivity of 1 x 10(-6), showed that 4 mM ENU induces detectable numbers of G --> A transitions in codon 248 of p53 while 5-methylcytosine deamination was not detected in either iNOS-transfected cells or cells exposed to 4 mM DEA/NO. Moreover, ENU was dose-responsively mutagenic in the phenotypic HPRT assay, reaching mutation frequencies of 24 and 96 times that of untreated control cells at ENU concentrations of 4 and 8 mM respectively; by contrast, 4 mM DEA/NO induced no detectable mutations in this assay, nor were any observed in cells transfected with murine iNOS. We conclude that if NO is at all promutagenic in these cells, it is significantly less so than the ethylating mutagen, ENU.

Nitric oxide-induced p53 accumulation and regulation of inducible nitric oxide synthase expression by wild-type p53.

The tumor suppressor gene product p53 plays an important role in the cellular response to DNA damage from exogenous chemical and physical mutagens. Therefore, we hypothesized that p53 performs a similar role in response to putative endogenous mutagens, such as nitric oxide (NO). We report here that exposure of human cells to NO generated from an NO donor or from overexpression of inducible nitric oxide synthase (NOS2) results in p53 protein accumulation. In addition, expression of wild-type (WT) p53 in a variety of human tumor cell lines, as well as murine fibroblasts, results in down-regulation of NOS2 expression through inhibition of the NOS2 promoter. These data are consistent with the hypothesis of a negative feedback loop in which endogenous NO-induced DNA damage results in WT p53 accumulation and provides a novel mechanism by which p53 safeguards against DNA damage through p53-mediated transrepression of NOS2 gene expression, thus reducing the potential for NO-induced DNA damage.

Involvement of a transforming-growth-factor-beta-like molecule in tumor-cell-derived inhibition of nitric-oxide synthesis in cerebral endothelial cells.

Nitric oxide (NO) has been shown to exert cytotoxic effects on tumor cells. We have reported that EC219 cells, a rat-brain-microvessel-derived endothelial cell line, produced NO through cytokine-inducible NO synthase (iNOS), the induction of which was significantly decreased by (a) soluble factor(s) secreted by DHD/PROb, an invasive sub-clone of a rat colon-carcinoma cell line. In this study, the DHD/PROb cell-derived NO-inhibitory factor was characterized. Northern-blot analysis demonstrated that the induction of iNOS mRNA in cytokine-activated EC219 cells was decreased by PROb-cell-conditioned medium. When DHD/PROb cell supernatant was fractionated by affinity chromatography using Con A-Sepharose or heparin-Sepharose, the NO-inhibitory activity was found only in Con A-unbound or heparin-unbound fractions, respectively, indicating that the PROb-derived inhibitory factor was likely to be a non-glycosylated and non-heparin-binding molecule. Pre-incubation of DHD/PROb-cell supernatant with anti-TGF-beta neutralizing antibody completely blocked the DHD/PROb-derived inhibition of NO production by EC219 cells. Addition of exogenous TGF-beta 1 dose-dependently inhibited NO release by EC219 cells. The presence of active TGF-beta in the DHD/PROb cell supernatant was demonstrated using a growth-inhibition assay. Moreover, heat treatment of medium conditioned by the less invasive DHD/REGb cells, which constitutively secreted very low levels of active TGF-beta, increased both TGF-beta activity and the ability to inhibit NO production in EC219 cells. Thus, DHD/PROb colon-carcinoma cells inhibited NO production in EC219 cells by secreting a factor identical or very similar to TGF-beta.

The Transnational Zombie: Postcolonial Memory and Rage in the Recent European Horror Film

An ever increasing number of films, books, and scholarly works dealing with the undead have appeared in the last decade, making the zombie the very incarnation of American popular culture on a global scale. In this chapter I show that the zombie is also a surprisingly complex sign for transnational movement and multidirectional cultural flow. While the zombie may appear as the very epitome of American cultural production and influence, a mindless movie monster born of a vapid stream of Hollywood B-horror, the zombie has a rich transnational history and an eloquent figurative resonance that have fed into its current ubiquity as cultural sign. This chapter reviews that history and then examines some of the ways that the zombie figure has traveled between the Caribbean, where it emerged, the United States, where it was translated into a film device of startling pathos and horror, and Europe, to which it owes some of its most interesting recent innovations.

Nitric oxide sustains IL-1β expression in human dendritic cells enhancing their capacity to induce IL-17-producing T-cells.

The role played by lung dendritic cells (DCs) which are influenced by external antigens and by their redox state in controlling inflammation is unclear. We studied the role played by nitric oxide (NO) in DC maturation and function. Human DCs were stimulated with a long-acting NO donor, DPTA NONOate, prior to exposure to lipopolysaccharide (LPS). Dose-and time-dependent experiments were performed with DCs with the aim of measuring the release and gene expression of inflammatory cytokines capable of modifying T-cell differentiation, towardsTh1, Th2 and Th17 cells. NO changed the pattern of cytokine release by LPS-matured DCs, dependent on the concentration of NO, as well as on the timing of its addition to the cells during maturation. Addition of NO before LPS-induced maturation strongly inhibited the release of IL-12, while increasing the expression and release of IL-23, IL-1β and IL-6, which are all involved in Th17 polarization. Indeed, DCs treated with NO efficiently induced the release of IL-17 by T-cells through IL-1β. Our work highlights the important role that NO may play in sustaining inflammation during an infection through the preferential differentiation of the Th17 lineage.

La controverse avant le film : quelle politique pour Good Night, And Good Luck ?

This article aims to explain how newspapers commented on the movie Good Night, and Good Luck before its release. The media coverage anticipated George Clooney's film as a partisan attack launched against George W. Bush's policy since 9/11. Clooney advocates another reading: the historic confrontation between journalist Edward Murrow and Senator Joseph McCarty permits to reflect on the crucial role that the media play for democracy. Such reflection tries to prevent the dividing of the public sphere into antagonistic camps opposing "friends" to "foes," a division that undermines the possibility of a true pluralism. Our socio-semiotic analysis will focus on the critical work accomplished by the media, and on the way that work determines the collective meaning of a cultural object. Simultaneously, we will discuss the necessary conditions for pluralism in a public sphere.

L'origine picturale du cinéma : le tableau vivant, une esthétique du film des premiers temps

Le cinéma des premiers temps, c'est-à-dire la production des deux premières décennies du cinéma, majoritairement caractérisée par des plans autonomes, des histoires courtes et un cadre fixe, n'a essentiellement connu d'études esthétiques que sous un angle narratologique, centrées notamment sur les prémisses du montage. Cette thèse déplace le regard - ou plus simplement le convoque -, en proposant de faire sa place à l'image. Car à qui sait les regarder, les premiers films dévoilent une parenté picturale jusqu'alors ignorée. Les images du cinéma des premiers temps - alors significativement appelées « tableaux » - se sont en effet définies à l'aune de la peinture, et même plus précisément par une imitation littérale des oeuvres d'art. Cette étude révèle que le tableau vivant, défini dans les termes stricts de la reconstitution d'une composition picturale par des acteurs vivants (que ceux-ci tiennent la pose ou non), est au fondement d'une esthétique du film des premiers temps. L'argument est structuré par les illustrations que l'auteure exhume (et compare, à la manière d'un spectaculaire et vivant jeu des 7 différences) parmi cette production filmique majoritairement disparue, brûlée, effacée, et ces références picturales aujourd'hui perdues, dénigrées, oubliées... Néanmoins ce ne sont pas quelques exemples isolés, mais un vrai phénomène historique qui est mis au jours à travers un corpus de films traversant tous les genres du cinéma des premiers temps, et prouvant que les productions du Film d'Art et des séries d'art ou le film Corner in Wheat (D.W. Griffith, 1909), souvent tenus comme un commencement, consistent bien plus en un aboutissement de cette tradition qui consiste à créer des images filmiques sous forme de tableaux vivants. Traçant d'abord ses « contexte et contours », le texte montre que la reconstitution picturale hante toutes les formes de spectacle à l'heure de l'émergence du cinéma. Les scènes de l'époque cultivent internationalement une esthétique de tableau vivant. Et la scène n'a pas l'exclusivité du phénomène : le médium photographique, dès son apparition, s'approprie le procédé, pour (chose jusqu'alors impossible) documenter l'effet visuel de ces reconstitutions, mais aussi pour les réinventer, en particulier pour se légitimer en tant que moyen artistique capable de rivaliser avec la peinture. Le cinéma émergent procède à une appropriation similaire du tableau vivant, qui fait le coeur de ce travail en y étant analysée selon quatre axes théoriques : Reproduire - où l'on découvre le caractère fondamentalement indirect de la filiation picturale de ces tableaux vivants, pris dans une dynamique de reproduction intermédiale qui en fait de véritables exercices de style, par lesquels les producteurs expérimentent et prennent conscience des moyens .artistiques de l'image filmique - ; Réincarner - où l'on étudie les problématiques engagées par la « mise en vie », et plus précisément la « mise en corps » des figures picturales (en particulier de Jésus et du nu), impliquant des enjeux de censure et un questionnement du regard sur l'art, sur le corps, et sur le statut de ces images qui semblent plus originales que l'original - ; Réanimer - où l'on examine la manière dont le cinéma mouvemente la peinture, en remettant la composition en action, en en redéployant l'instant prégnant, en expérimentant la pose gestuelle, l'arrêt du photogramme et tout le spectre de la temporalité cinématographique - ; enfin Recadrer - où l'on analyse le cadrage de ces tableaux repensés à l'aune de la caméra et de l'écran, qui nécessitent de complexifier les catégories théoriques baziniennes, et qui font émerger le tableau vivant comme un lieu de cristallisation d'une image filmique tabu/aire, offrant une résistance au montage linéaire. Or cette résistance se vérifiera jusque dans les films très contemporains, qui, en réactualisant le motif du tableau vivant, briseront la linéarité narrative du montage et feront rejaillir le poids artistique de l'image - ravivant en cela une esthétique fondatrice du cinéma.