bluuebunny/crossref_metadata_2025_split huggingface dataset:
TLR2 Expression Is Regulated by MicroRNA miR-19 in Rheumatoid Fibroblast-like Synoviocytes
Authors: Philippe Lucas , Alsaleh Ghada , Suffert Guillaume , Meyer Alain , Georgel Philippe , Sibilia Jean , Wachsmann Dominique , Pfeffer Sébastien 
Published: November 2011

Abstract
Resident cells, such as fibroblast-like synoviocytes (FLS), play a crucial role in rheumatoid arthritis (RA). They are implicated in the inflammatory response and play a key role in osteoarticular destruction. Moreover, RA FLS spread RA to unaffected joints. Pathogen-associated molecular patterns and damage-associated molecular patterns have been found to activate RA FLS by interacting with pattern recognition receptors, such as TLR. RA FLS express a large number of TLR, and TLR2 was demonstrated to be involved in RA inflammation. Because microRNA have emerged as important controllers of TLR expression and signaling, the aim of this study was to evaluate their potential involvement in the control of TLR2 expression by RA FLS. We first showed that Tlr2 expression is strongly upregulated in RA FLS in response to TLR2 ligands. Using a microRNA microarray analysis, we identified one miRNA in activated RA FLS, miR-19b, which was downregulated and predicted to target Tlr2 mRNA. Downregulation of miR-19b and miR-19a, which belongs to the same cluster, was confirmed by real-time quantitative PCR. Transfection of RA FLS with miR-19a/b mimics decreased TLR2 protein expression. In parallel, we found that both IL-6 and matrix metalloproteinase 3 secretion was significantly downregulated in activated FLS transfected with either mimic. Moreover, using a luciferase assay, we showed that miR-19a/b directly target Tlr2 mRNA. Taken together, our data point toward an important role for miR-19a/b in the regulation of IL-6 and matrix metalloproteinase 3 release by controlling TLR2 expression, as well as provide evidence that miR-19a/b can act as negative regulators of inflammation in humans.
Associations of Location and Perceived Environmental Attributes with Walking in Neighborhoods
Authors: Humpel Nancy , Owen Neville , Leslie Eva , Marshall Alison L. , Bauman Adrian E. , Sallis James F. 
Published: November 2011

Purpose. Ecological models highlight the importance of environmental influences. We examined associations of coastal versus noncoastal location and perceived environmental attributes with neighborhood walking, total walking, and total activity. Methods. Telephone interviews with 800 faculty and general staff of an Australian university. Results. Men were significantly more likely to walk in their neighborhood if they lived in a coastal location (odds ratio [OR] = 1.66), and they highly rated environmental “aesthetics” (OR = 1.91), “convenience” of facilities (OR = 2.20), and “access” to facilities (OR = 1.98). For women, neighborhood walking was associated with high ratings of “convenience” (OR = 3.78) but was significantly less likely if they had high ratings for “access” (OR = 0.48). For total walking and total physical activity, few significant associations emerged. Conclusions. Environmental attributes were related to walking in the neighborhood but not to more general activity indices. Understanding gender-specific environmental correlates of physical activity should be a priority.
Writing American Film History
Authors: Sklar Robert 
Published: November 2011

AbstractWriting the history of history writing. It could almost be a palindrome, but it's also a fundamental way that historians assess and advance their work. The technical term is historiography, which, as practiced predominantly among British and European philosophers, theorizes the principles and rhetoric of history writing. In the United States, however, with several prominent exceptions, historiography has largely taken the form of historians critiquing books and articles written by their peers and predecessors. American historiography emphasizes the biographical and genealogical, the careers of historians and the schools of thought that they may represent.
The Imagined Audience in the Nickelodeon Era
Authors: Butsch Richard 
Published: November 2011

AbstractThe nickelodeon era press described movies as the “poor man's amusement.” Early film histories wove this image into their historical fabric. Pioneering cinema historian Terry Ramsaye reasoned that, due to the nickelodeon's cheap admission, “the motion picture theatre rose in the foreign labor centers of the great cities.” Only after this did movies spread “into the hinterlands,” as he phrased it (1926, 431). In the 1970s, a few young film historians, pursuing a new social history of the working class, reinvigorated this conception of nickelodeon audiences, seeing in them evidence of the lower classes as actors in and agents of history, rather than “dupes” of ruling‐class ideology. However, other film historians argued for a more diverse audience that they saw in middle‐class neighborhoods and outside urban areas. The differences sparked an intensive debate. After a few years of quiescence, the debate was revived by an article inCinema Journal.1
Pink‐Slipped
Authors: Gaines Jane M. 
Published: November 2011

Abstract“Why did she ever leave the pictures!” laments Epes Winthrop Sargent upon seeing a photograph of actress Gene Gauntier. Quoted in the introduction to Gauntier's 1928 memoir “Blazing the Trail,” Sargent cries out on behalf of a generation of audiences (“Gene Gauntier Again” 1928, 4). Four years earlier, in the same vein, aPhotoplayarticle titled “Unwept, Unhonored, and Unfilmed” bemoans the disappearance of Gauntier as well as of Marion Leonard, Florence Lawrence, Florence Turner, Cleo Madison, Flora Finch, and Helen Holmes. Such a complaint is nothing new to motion picture historiography. “Unwept,” in the best fan magazine tradition, is nostalgia for the forgotten glory of the fading actress and today it could be easily dismissed as nothing more. But buried within the 1924 article are motion picture industry history details seldom found in fan magazine puff pieces. And, as intriguing for film scholars, outbursts of feeling from the womenPhotoplayinterviewed suggest another story, one for a new feminist film moment.
The Devil in the Details
Authors: Liepa Torey 
Published: November 2011

Abstract
The “modern miracle” of the unceasing production of the large‐scale, consolidated culture industry Wing admired remains a mystery in many respects. Wing's mechanistic metaphors, or that of the often referenced “Dream Factory” designed to churn out visual delights of magic and wonder, are popularly employed to explain the complexities of the relationship between film production and film style. Yet such language tends to obscure rather than explain the relationship. A close study of Thomas Ince and his work, however — an early case of industrialized commercial film production — offers an example of how industrial production radically redefined film style. Immediately preceding the establishment of Hollywood, producer/director Ince played a significant role in initiating a method of film production that would influence filmmaking for decades to come. Ince pioneered the adoption of both scriptwriting and character dialogue in the silent cinema, and in so doing created a space in silent films for the audible dialogue that would emerge by the end of the 1920s. By examining this aspect of how industrial production affected the development of film style in the 1910s, this chapter will attempt to shed light on the connections that exist between film texts, methods of film production, and the overall organization of the film industry. These larger phenomena reinscribe their constitutive logic on the surface of the celluloid they create, and a close analysis can reveal their presence in the symptomatic nuances and details of cinematic style.
American Modern
Authors: Gerstner David A. 
Published: November 2011

AbstractIn his 1928 filmThe Crowd, King Vidor richly visualizes the strain on the modern individual. The film expresses anxieties that fall squarely within the Zeitgeist of the late 1920s, centered on the uncertain effects inflicted on humanity by the intersecting relationship of nature and machine. Vidor's treatment of two specific locations in the film — the tenement and the beach — an interior (machine) and an exterior (nature) — relay the director's understanding of the trappings that inform early twentieth‐century culture. The tenement and beach are crucial to Vidor's philosophical thoughts on modernity, since they pointedly express a consistent theme thatThe Crowdis at pains to explore: loss of humanity at the expense of industrial and corporate progress. Vidor's treatment of these two locations illustrates, through mise‐en‐scène, the poignant, modernist tensions as they heavily weigh upon the family, in particular. As family‐specific places, the tenement — as home — and the beach — as outlet for escapist recreation — mark the delimited spheres in which the individual (the man) and his family hope to seek refuge from modernity's high pace and chilling indifference. As one of the film's sobering titles proclaims, “The crowd laughs with you always but it will cry with you for only a day.”1
Self‐Reflection in American Silent Film
Authors: Warren Charles 
Published: November 2011

Abstract“Reflexivity” is a term some film scholars use for a tendency in films, mostly from the 1960s and later, of calling attention to the fact that they are films and to the machinery and processes of staging, photographing, and editing — in short, constructing — a film. An example from the silent era is Dziga Vertov'sMan with a Movie Camera(1929), and films of Jean‐Luc Godard typify the later period, when such films proliferate. The idea is to put a distance between viewer and film, in a Brechtian spirit — to make the viewer more conscious and thoughtful about what is being presented and about how it is being presented. “Reflexivity” pits itself against a cinema of “illusion” — so the argument goes — typified by Hollywood, where the viewer is swept away and thought is suppressed.1
Era of the Moguls
Authors: Bernstein Matthew H. 
Published: November 2011

AbstractSince Hollywood has long been a vehicle for mythmaking about America, it should not surprise us that American popular culture is rife with mythologizing of the film industry itself. If America is allegedly the place where anyone can become rich and famous (see Horatio Alger orAmerican Idol), Hollywood is a special setting for that transformation (the myth holds that Lana Turner, a glamorous star from the late 1930s through the 1960s, was discovered at a lunch counter; she was not).
Mapping
Why We Fight
Authors: Wolfe Charles 
Published: November 2011

Abstract
In a “fireside chat” delivered over national radio on Washington's Birthday, February 23, 1942, President Franklin Delano Roosevelt offered an expansive account of the conflict in which the United States was now engaged, the scope of which extended far beyond Pearl Harbor and the events that had propelled US entry into the war 11 weeks before. The oceans of the world, Roosevelt stressed, were no longer buffers but battlefields and vital thoroughfares for communication and logistical supplies. “It is warfare in terms of every continent, every island, every sea, every air lane in the world,” he explained. “That is the reason why I have asked you to take out and spread before you the map of the whole earth, and to follow with me in the references which I shall make to the world‐encircling battle lines of this war.” Referring repeatedly to the listener's map — “I ask you to look at your map again …” — Roosevelt identified various continents, subcontinents, and nations where America's Allies were embattled: China and Russia, the British Isles, Australia and New Zealand, the Dutch Indies, India, the Near East, and Africa. “Look too at North America, Central America, and South America,” he advised, and contemplate the consequences “if all these great reservoirs of power were cut off from each other either by enemy action or self‐imposed isolation.” Taking pains to dispel rumors that the US Pacific fleet had been completely destroyed at Pearl Harbor, Roosevelt insisted that topography was of greater consequence than surprise in the success of Japan's attack. Here, too, a world map revealed the true source of the challenge the Allies faced — Japan's complete domination of the islands between Hawaii and the Philippines. Yet the Axis Powers should take no comfort in this advantage, Roosevelt assured his listeners, for “Germany, Italy, and Japan are very close to the maximum output of planes, guns, tanks, and ships.” The task for Americans now was to build up production “so that the United Nations can maintain control of the seas and attain control of the air.”
Hollywood Unions and Hollywood Blacklists
Authors: Ceplair Larry 
Published: November 2011

Abstract
The history of blacklisting in the Hollywood motion picture industry is inseparable from the history of union activity there. To understand the connection, three types of labor struggles must be delineated: (1) those with studio heads for recognition and for better conditions and benefits; (2) those with other unions for jurisdiction over jobs; and (3) those between union federations on the issue of democratic unionism or local autonomy. As will be evident, studio executives regularly inserted themselves into types 2 and 3. The main player in all these struggles was the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada (IATSE).
Truthmovies Are Just Beginning
Authors: Barron Ted 
Published: November 2011

AbstractIn its most common contemporary use, independent or “indie” film refers to works produced or distributed by a company without ties to the major Hollywood studio system or via a subsidiary of one of the larger conglomerates (e.g., Fox Searchlight, Sony Pictures Classics). Historically, independent productions shared some broad parameters with studio films — they were feature‐length films produced for theatrical distribution; they had a narrative with a beginning, a middle, and an end; and they featured a cast of characters who often, though not always, were played by professional actors. As Yanni Tzioumakis acknowledges, independent film is a “notoriously difficult concept to define” (2006, 1). On the most general level, however, the business model most independent films have traditionally employed has allowed filmmakers to shift creative and commercial interests away from the hands of industry workers and executives. What is privileged instead is the notion of film as a form of personal expression controlled by individuals who see themselves primarily as artists, regardless of whether they are actors, directors, cinematographers, or writers.
“Got‐to‐See”
Authors: Stanfield Peter 
Published: November 2011

Abstract

In a December 1956 edition of
Variety
a full page advertisement for a United Artists distributed double bill of
The Wild Party
and
Four Boys and a Gun
— a “Sensational Package” — was sold as “The Shock Stories Behind The Rock 'n' Roll Generation.”
The Wild Party
starred Anthony Quinn and promised to reveal “The New Sin That Is Sweeping America!” A Louella Parsons quote tagged the film as being as “modern as next month.” With no featured starring roles,
Four Boys and a Gun
carried the tag line “THESE KIDS ARE GOING STRAIGHT … to the electric chair!” The Quinn vehicle is a kidnap drama; the film it was double‐billed with centers around the question concerning which of four young hoodlums will take responsibility for a murder committed during the robbery of a boxing arena. Neither film has anything to do with rock 'n' roll — the claim was no more than an expedient exploitation of the latest musical fad, a means toward hyping the idea that the films were intimately tied to the here‐and‐now. The marketing of the films hangs on the promise of topicality — the stories behind today's headlines that are “as modern as next month” — coupled with shocking revelations — the new sin — producing a compact of public issues, topicality, sensation, and commercial exploitation, or a compact of the social problem picture and the teenpic.
The New Hollywood
Authors: Nystrom Derek 
Published: November 2011

AbstractThere have been, of course, many New Hollywoods. In an industry whose only constant has been change — technological, economic, and aesthetic — there is an almost perennial invocation of a New Hollywood emerging from the Old. Most obviously, the introduction of sound created a new Hollywood that replaced the old silent cinema. Many film historians would argue that 1948 marked the beginning of another new Hollywood, as that year's Supreme Court Paramount decision required the studios to sell off their theaters and stop other practices that had guaranteed them a near‐monopoly over exhibition. Furthermore, as Peter Krämer (1998) has illustrated, various film critics and theorists have announced different, yet by their terms definitive, breaks in Hollywood's narrational and stylistic modes. For example, André Bazin declared that 1939–1940 marked the turning point during which Hollywood filmmaking superseded its “classical” period and underwent various “baroque” developments, while critics like Parker Tyler and Gilbert Seldes cited 1952–1953 as the moment when Hollywood radically reconfigured the cinematic experience via widescreen and 3‐D processes in order to differentiate itself from television. A New Hollywood, it seems, never ceases to be in the process of being born.
The Rise and Fall of Blaxploitation
Authors: Guerrero Ed 
Published: November 2011

AbstractMore than a bit of irony figures in the use of the termBlaxploitation. The epithet is usually associated with the production of the 60 or so Hollywood films that centered on black narratives, featured black casts playing out various action‐adventures in the ghetto, and were released roughly between 1969 and 1974. But Blaxploitation might as easily and accurately describe the cruel injustice of slavery, or, for that matter, much of the historical sojourn of black folk in America. Nevertheless, in this essay I confine the rubric to its narrowest contemporary understanding, which arises from the film industry's targeting the black audience with a specific product line of cheaply made, black‐cast films shaped with the “exploitation” strategies Hollywood routinely uses to make the majority of its films (Monaco 1984, 63–64; Cagin & Dray 1984, 52). These concoctions were marketed to a basically inner‐city, black youth audience in anticipation of substantial box office profits. My discussion is guided by the argument that the Blaxploitation genre emerged out of the dialectical interactions of three broad, overdetermining conditions of possibility. First and most obvious to observers of the late 1960s scene is that these films were made possible by the rising political and social consciousness of black people (taking the form of a broadly expressed black nationalist impulse at the end of the civil rights movement), which translated into a large black audience thirsting to see their full humanity depicted on the commercial cinema screen. This surge in African‐American identity and revolutionary politics led also to an outspoken, critical dissatisfaction with Hollywood's persistent degradation of African‐Americans in films among black leaders, entertainers, and intellectuals. Ultimately, the mounting pressure of these conditions coincided with the near economic collapse of the film industry at the end of the 1960s. In turn, this forced Hollywood to respond to the rising expectations of African‐Americans by making black‐oriented features in order to help solve the film industry's political and financial problems.
“One Big Lousy X”
Authors: Simon Art 
Published: November 2011

AbstractIn the years between 1968 and 1976, the American cinema reacquainted itself with New York City and found there a compelling image of a society appearing to unravel. It brought some of its best‐known genre figures, such as the cowboy and the police detective, and some of the culture's richest tropes, like the struggling immigrant and life on the road, to confront a city on the brink of collapse. But the cowboy who had tamed the West was now no match for the frontier of night and the city's brand of bureaucratic justice. The policeman's badge now identified someone who broke the law as often as, and frequently in the name of, enforcing it. The child of immigrants, for whom New York had always meant economic and artistic opportunity, as well as a patchwork of supportive ethnic neighborhoods, now found himself a crippled lonely man, hustling the streets of a most unglamorous Times Square. And the road, that symbol of mythical freedom for the Beats as well as bikers, and the path by which the counterculture had imagined an escape from middle‐class conformity, would become, in the city, a dense circuitry of streets, home to mad car chases and round‐the‐clock crimes.
Nashville: Putting on the Show
Authors: Elsaesser Thomas 
Published: November 2011

AbstractRobert Altman's career can stand as the epitome of the direction the American Cinema in the 1970s might have taken — but did not. After an especially “long march” from industrial filmmaking in Kansas City toBonanza‐type television work, a break onAlfred Hitchcock Presentsand a worthy but unappreciated attempt at making an “outside the box” Hollywood film (That Cold Day in the Park, 1969), the enormous success ofM*A*S*H(1970) promised Altman a degree of control that until then was barely thinkable within the American film industry. It seemed to predestine him to play a leading role in transforming the moribund studio system into a leaner, more dynamic and more responsive “New Hollywood” for the post‐Vietnam era and generation.
Reclaiming the Black Family
Authors: Cutler Janet K. 
Published: November 2011

Abstract

In the mid‐1970s, a loosely knit group of black graduate students at the University of California at Los Angeles (UCLA) produced a body of films designed to challenge Hollywood cinema thematically and stylistically. Working individually and collectively, members of what Clyde Taylor labels the “L.A. Rebellion”
1
and some others call the “L.A. School” crafted an alternative cinema in the shadows of nearby Hollywood studios, often focusing on working‐class and poor blacks in the inner city.
2
Despite their differing concerns and approaches, these filmmakers shared an urgent desire to counter mainstream cinema's misconceptions and distortions and to adopt modes of expression uniquely suited to representing the rich diversity of black life. Chief among these student filmmakers were Charles Burnett (
Killer of Sheep
, 1977), Larry Clark (
Passing Through
, 1977), Ben Caldwell (
I and I: An African Allegory
, 1977), Haile Gerima (
Bush Mama
, 1979), and later Alile Sharon Larkin (
A Different Image
, 1982), Julie Dash (
Illusions
, 1983)
3
and Billy Woodberry (
Bless Their Little Hearts
, 1984). In the decades that followed, many continued to produce provocative works, including Burnett's
To Sleep with Anger
(1990), Dash's
Daughters of the Dust
(1991), and Gerima's
Sankofa
(1993).
Feminism, Cinema, and Film Criticism
Authors: Fischer Lucy 
Published: November 2011

AbstractBefore it is possible to discuss American feminist film criticism and film practice between 1976 and 1988, it is necessary briefly to trace the social/historical context in which such activities took place — “second wave” feminism in the United States. The “first wave,” of course, refers to events that transpired in the nineteenth and early twentieth centuries that were focused largely on women's property rights, opposition to chattel marriage, and the quest for suffrage. The “second wave,” on the other hand, marks occurrences that took place from the 1960s to the 1980s, drawing upon the gains of the prior women's movement.