Engineering and Information Technology Collected Works - Research Publications
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ItemAqp 9 and Brain Tumour Stem Cells(HINDAWI LTD, 2012)Several studies have implicated the aquaporins (aqp) 1, 4, and 9 in the pathogenesis of malignant brain tumours, suggesting that they contribute to motility, invasiveness, and oedema formation and facilitate metabolism in tumour cells under hypoxic conditions. We have studied the expression of aqp1, 4, and 9 in biopsies from glioblastomas, isolated tumour stem cells grown in a tumoursphere assay and analyzed the progenitor and differentiated cells from these cultures. We have compared these to the situation in normal rat brain, its stem cells, and differentiated cells derived thereof. In short, qPCR in tumour tissue showed presence of aqp1, 4, and 9. In the tumour progenitor population, aqp9 was markedly more highly expressed, whilst in tumour-derived differentiated cells, aqp4 was downregulated. However, immunostaining did not reveal increased protein expression of aqp9 in the tumourspheres containing progenitor cells; in contrast, its expression (both mRNA and protein) was high in differentiated cultures. We, therefore, propose that aquaporin 9 may have a central role in the tumorigenesis of glioblastoma.
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ItemChristian Petzold's Cinema of Haunted Figures( 2019)Betrayed lovers, unfulfilled desires and second chances are ingredients in Petzold’s thoughtful cinema that comments on the human condition in the political calamities which have destroyed, divided and reunited German society in more than half a century. Over the course of a career that started with his graduation film at the German Film and Television Academy Berlin, Pilotinnen (Pilots, 1995), Christian Petzold (born in 1960) has emerged as one of the most critical voices of German film. To date, he has made sixteen films for television and cinema that have garnered important national and international prizes. Petzold’s feature films deal with the afterlife of terrorism (Die innere Sicherheit/The State I am in, 2000), East Germany and post-reunification issues (Yella 2007, Jerichow 2008; Barbara, 2012), and lately, the heritage of WWII and the Holocaust (Phoenix, 2014, Transit 2018). The collaboratively made thriller trilogy Dreileben (Three Lives) was the TV highlight of the year 2011. Where fellow German directors reanimate life in the Weimar Republic and continue to mystify the East in ever more opulent pictures, Petzold’s films stimulate spectators to look for meaning in the symbolic world of his concentrated images and otherworldly soundscapes. Films such as Yella or Wolfsburg (2003) undo the rationalities of fast-paced life in urban settings, expose the tricks of tastefully dressed venture capitalists, and examine the facets of a materialistic society. Petzold’s characters are often caught in ‘dead’ spaces and haunted by choices made earlier in their lives.
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ItemThe Art Installation Beyond the Wall – Looking into the Eyes of the GDR Border Regime(Third Generation East Initiative Website, 2018)
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ItemGerman Film and the Literary Genre(Intellect Books, 2014-01-17)This is complemented by a focus on film adaptations of several German literary classics and the treatment of history as a cinematic spectacle in costume dramas.
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ItemMaximiliano Schonfeld’s Films of the Volga Germans in Entre Ríos: About the Neoliberal Devil in Argentine Cinema(Palgrave Macmillan, 2018-07-21)This chapter deals with Maximiliano Schonfeld’s work with and about the rurally-based Volga German community in the Argentine province, Entre Ríos. The films of the young Argentine director interlink themes of social marginality, rural setting and neoliberal critique. Utilising documentary and fictional modes, open narrative structures and enticing visuals, they draw pictures of a community in crisis. Consumer culture has begun shaping the desires of younger Volga Germans, while a concentration of capital and business in the agricultural sector threatens the existence of small-scale businesses. With reference to the shorts Esnorquel (2006), Entreluces (2006) and the feature film Germania (2012), the author argues that Schonfeld’s filmmaking is an act of resistance to the loss of community-based living and working structures in rural environments.
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ItemContemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field(Palgrave Macmillan, 2018)This chapter investigates the relationship between neoliberalism and Latin America filmmaking from the 1990s onwards. Which impact did the privatizing of state-owned companies have on distribution and exhibition arrangements? How did narrative and aesthetic formats reflect these changes? In which way does contemporary Latin American cinema criticize but also benefit from neoliberal advancements? The author argues that there are loopholes within spaces of commodification that invite criticism and resistance. Initiatives on national, regional and pan-regional level support Latin American film and the ever-expanding funding scape offer opportunities to get film projects off the ground. Filmmakers use the subversive potential of genres to capture specifically Latin American experiences and sensibilities, reflecting on neoliberal ideology, its middle-class conventions and moral regimes.
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ItemPeter Lilienthal’s David (1978). Heimatlosigkeit als Überlebensstrategie(Cinegraph Babelsberg, 2013)
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ItemHidden Treasures and Hidden Films(University of the West of England, Bristol, 2018-07-03)The short film Hidden Treasures/Películas Escondidas (2013) and the feature-length documentary Hidden Films. A Journey From Exile to Memory/Películas Escondidas. Un viaje entre el exilio y la memoria (2016) explore Chilean films made by the East German state-owned production company DEFA in the 1970s and 1980s as transnational memories of the Cold War. With these works, film scholar Claudia Sandberg and director Alejandro Areal Vélez highlight the importance of the East German film archives, not just as a form of political diplomacy but as a carrier of memory for quite disperse groups. Hidden Treasures and Hidden Films assess the role of filmmaking as a seismograph for larger geopolitical events and global transformations.
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ItemZwischen Revolutionsromantik und mangelnder Leidenschaft für den Sozialismus. Die Rezeption von Peter Lilienthals Es herrscht Ruhe im Land in Ost- und Westdeutschland(Springer-Verlag, 2013-11-18)Grenzüberschreitende Filmbeziehungen vor und nach dem Mauerbau Michael Wedel, Barton Byg, Andy Räder, Skyler Arndt-Briggs, Evan Torner. Transnationale Distribution und Rezeption M. Wedel et al. (Hrsg.), DEFA international, Film, ...
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Item'NOT LIKE THE STORIES I AM USED TO': EAST GERMAN FILM AS CINEMATIC MEMORY IN CONTEMPORARY CHILE(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2017)