Isolation and cloning of exendin precursor cDNAs from single samples of venom from the Mexican beaded lizard (Heloderma horridum) and the Gila Monster (Heloderma suspectum)

Reptile venoms are complex cocktails of bioactive molecules, including peptides. While the drug discovery potential of most species remains unrealized, many are endangered and afforded protection under international treaties. In this study, we describe how potential clinically important bioactive peptides and their corresponding mRNAs can be structurally characterized from single, small samples of reptile venom. The potential type-2 diabetes therapeutics, exendin-3 and exendin-4, from the Mexican beaded lizard (Heloderma horridum) and the Gila monster (Heloderma suspectum), respectively, have been characterized at both protein and nucleic acid levels to illustrate the efficacy of the technique and its contribution to biodiversity conservation.

PdT-2: a novel myotropic Type-2 tryptophyllin from the skin secretion of the Mexican giant leaf frog, Pachymedusa dacnicolor.

Amphibian skin secretions represent a unique resource for the discovery of new bioactive peptides. Here we report the isolation, structural and functional characterization of a novel heptapeptide amide, DMSPPWHamide, from the defensive skin secretion of the Mexican giant leaf frog, Pachymedusa dacnicolor. This peptide is of unique primary structure and has been classified as a member of the rather heterogenous tryptophyllin-2 (T-2) family of amphibian skin peptides and named P. dacnicolor Tryptophyllin-2 (PdT-2) in accordance. PdT-2 is the first Type 2-tryptophyllin to possess discrete bioactivity. Both natural and synthetic replicates of the peptide were found to contract the smooth muscle of rat urinary bladder, the latter displaying an EC50 of 4 nM.

The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists´ work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star´s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars’ faces on their posters.

The redemption of the gaze: the crisis of observation in the "fin de siècle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de siècle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumière brothers in the fin de siècle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

Applying the Paradigm: Shakespeare and World Cinema

The essay discusses films that have been made of the plays written by dramatist William Shakespeare, particularly films that were made outside of Great Britain and the U.S. The Chinese film "The Banquet," directed by Xiaogang Feng, is a retelling of Shakespeare's play "Hamlet." The film demonstrates how Shakespeare's play could be successfully repositioned to demonstrate problems in 21st century Asia.

Molecular cloning of the helokinestatin/CNP precursor from a venom-derived cDNA library of the Mexican beaded lizard, Heloderma horridum, and identification of a novel encoded bradykinin-antagonist peptide, helokinestatin-6

Helokinestatins 1–5 represent a novel family of bradykinin antagonist peptides originally isolated from the venom of the Gila Monster, Heloderma suspectum. We found that they were encoded in tandem along with a single copy of C-type natriuretic peptide (CNP), by two different but almost identical biosynthetic precursors that were cloned from a venom-derived cDNA library. Here we have applied the same strategy to the venom of a related species, the Mexican beaded lizard, Heloderma horridum. Lyophilised venom was used as a surrogate tissue to generate a cDNA library that was interrogated with primers from the previous study and for reverse phase HPLC fractionation. The structure of a single helokinestatin precursor was obtained following sequencing of 20 different clones. The open-reading frame contained 196 amino acid residues, somewhat greater than the 177–178 residues of the corresponding helokinestatin precursors in H. suspectum. The reason for this difference in size was the insertion of an additional domain of 18 amino acid residues encoding an additional copy of helokinestatin-3. Helokinestatin-6 (GPPFNPPPFVDYEPR) was a novel peptide from this precursor identified in venom HPLC fractions. A synthetic replicate of this peptide antagonised the relaxation effect of bradykinin on rat arterial smooth muscle. The novel peptide family, the helokinestatins, have been shown to be present in the venom of H. horridum and to be encoded by a single precursor of different structure to those from H. suspectum. Studies such as this reveal the naturally-selected structures of bioactive peptides that have been optimised for purpose and provide the scientist with a natural analogue library for pharmacological investigation.

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.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

Cinema Lucida: Johan van der Keuken and the Meaning of Loss

Ever sceptical about the positivistic claims of ethnographic and so-called realist documentary, Johan van der Keuken’s film-making is the work of a curious, spontaneous and disorientated observer of the essential strangeness of both the foreign and the familiar, new landscapes and cities, experiences, and people. While there are various explicitly political and socially orientated films and themes across his work, it is those films and moments when what is being conveyed is a sense of him being somewhere liminal, being ‘in-between’ situations, cultures, styles and interpretations, reticent, uncertain but incorrigibly curious that constitute his most valuable contribution to documentary film aesthetics. Not surprisingly, such characteristics often come to the fore in those films where he tries to make sense of loss, the passing of lives and the legacies left behind. This article discusses questions of history and personal loss in a number of his films.