353 research outputs found
High noon : a new sequel to "Three weeks" /
No full textConjecturally attributed to Elinor Glyn, author of Three weeks.Mode of access: Internet
An Introduction to Elinor Glyn: Her Life and Legacy
No full textThis special issue of Women: A Cultural Review re-evaluates an author who was once a household name, beloved by readers of romance, and whose films were distributed widely in Europe and the Americas. Elinor Glyn (1864–1943) was a British author of romantic fiction who went to Hollywood and became famous for her movies. She was a celebrity figure of the 1920s, and wrote constantly in Hearst's press. She wrote racy stories which were turned into films—most famously, Three Weeks (1924) and It (1927). These were viewed by the judiciary as scandalous, but by others—Hollywood and the Spanish Catholic Church—as acceptably conservative. Glyn has become a peripheral figure in histories of this period, marginalized in accounts of the youth-centred ‘flapper era’. Decades on, the idea of the ‘It Girl’ continues to have great pertinence in the post-feminist discourses of the twenty-first century. The 1910s and 1920s saw the development of intermodal networks between print, sound and screen cultures. This introduction to Glyn's life and legacy reviews the cross-disciplinary debate sparked by renewed interest in Glyn by film scholars and literary and feminist historians, and offers a range of views of Glyn's cultural and historical significance and areas for future research
Elinor Glyn: Intermedial Romance and Authorial Stardom
No full textThis chapter explores the career of bestselling author Elinor Glyn, a figure who
moved with relatively unique fluidity across a very broad spectrum of these different forms, as a writer, adapted and filmmaker. The chapter focuses on the underexplored final stage of her film career in the early 1930s in Britain. It delves into Glyn’s archives, considering how archival sources produce a new mapping of the strategies that she and her associates formulated to break into UK cinema culture, developed on the premise that one could create an intermedial star identity through popular culture, and through the manipulation of international discourses on femininity and romance. Such non-filmic traces and materials enlarge and illuminating Glyn’s star image, suggesting the framework that she was trying to construct around her films as a vehicle for her brand and ideas. While Glyn was not wholly unique as a literary/filmic star figure during this period, the chapter argues that the fluidity of her movement across diverse forms of labour, and her creation of new forms and modes of creative influence in cinema culture, offers a distinct new access point to understandings of women’s writing, film fictions and selfhood during this period.</p
Author Correction: QUAREP-LiMi: a community endeavor to advance quality assessment and reproducibility in light microscopy
No full textThe Ethnogenesis of the Crimean Tatars. An Historical Reinterpretation. (Brian Glyn Williams)
No full texthis article is the translation of Brian Glyn Williams`s work “The Ethnogenesis of the Crimean Tatars. An Historical Reinterpretation”. Brian Williams is the professor of history of Islam on the Chair of Massachusetts University in Dartmouth, the USA. The source is: Journal of the Royal Asiatic Society. Third Series, Vol. 11, № 3, (Nov., 2001), pp. 329–348. The article considers the issue of the Crimean Tatar`s ethnogenesis, their communal identity, social-economic conditions of the activities. On the basis of the studied material, the author comes to conclusion of necessity of Crimean Tatar`s History Reinterpretation
Elinor Glyn’s British Talkies: voice, nationality and the author on screen
No full textExisting accounts of Elinor Glyn’s career have emphasised her substantial impact on early Hollywood. In contrast, relatively little attention has been paid to her less successful efforts to break into the UK film industry in the early sound period. This article addresses this underexplored period, focusing on Glyn’s use of sound in her two British films, Knowing Men (Elinor Glyn, Elinor Glyn Productions Ltd., 1930) and The Price of Things (Elinor Glyn, Elinor Glyn Productions Ltd., 1930). The article argues that Glyn’s British production practices reveal a unique strategy for reformulating her authorial stardom through the medium of the ‘talkie’. It explores how Glyn sought to exploit the specifically national qualities of the recorded English voice amidst a turbulent period in UK film production. The article contextualises this strategy in relation to Glyn’s business and personal archives, which evidence her attempts to refine her own speaking voice, alongside those of the screen stars whose careers she sought to develop for recorded sound. It suggests that the sound film was marked out as an important, exploitable new tool for Glyn within a broader context of debates about voice, recorded sound and nationality in UK culture at this time. This enabled her to portray a distinctively national brand identity through her new film work and surrounding publicity, in contrast to her appearances in American silent films. The article will show that recorded sound further allowed Glyn to performatively foreground her role as author-director through speaking cameos. This is analysed in relation to wider evidence of her practice, where she reflected on the performative qualities of the spoken voice in her writing and interviews, and made use of radio, newsreel and live performance to perfect and refine her own skills in recitation and oratio
Trafficking of osteonectin by retinal pigment epithelial cells: Evidence for basolateral secretion
No full textOsteonectin is a glycoprotein that modulates several aspects of cellular behaviour including proliferation and adhesion. The retinal pigment epithelium forms a continuous monolayer of polarised cells immediately bellow the neuroretina, and is integral to the homeostasis of photoreceptor cells. While osteonectin is expressed by normal retinal pigment epithelium in situ, its expression is significantly increased in retinal pigment epithelial cells associated with several common retinal diseases. This pattern of expression implies an important role for osteonectin in the biology of retinal pigment epithelial cells. However, the trafficking, processing, and eventual fate of osteonectin in these cells is not clear at present. Although the theoretical report of a leader sequence within the osteonectin open reading frame and its extracellular presence in some tissues indirectly support secretion of the protein, there is no direct experimental demonstration of the secretion route to date. As a first step towards understanding the role of osteonectin in retinal pigment epithelium, we studied the intracellular distribution and trafficking of the protein in living cells. Here, we present experimental evidence that a precursor osteonectin fusion protein is targeted to the endoplasmic reticulum/Golgi pathway, with a likely basal secretion in retinal pigment epithelial cells. In addition, we show that the precursor osteonectin protein having the leader sequence masked fails to undergo secretion leading to cell death, a phenotype which may be of relevance not only for retinal pathology, but also for other diseases such as the bone disorder known as pseudoachondroplasia that is associated with a lack of osteonectin secretion. © 2006 Elsevier Ltd. All rights reserved
A dual Golgi- and mitochondria-localised Ala25Ser precursor cystatin C: An additional tool for characterising intracellular mis-localisation leading to increased AMD susceptibility
No full textAn artificial mutant Ala25Ser precursor cystatin C was created to help elucidate the cause of intracellular mis-localisation of the biochemically related variant B (Ala25Thr) precursor cystatin C to the mitochondria. Homozygotes of variant B precursor cystatin C were reported to carry an increased susceptibility to developing the exudative form of AMD. Ala25Ser precursor cystatin C shows a dual distribution to the Golgi apparatus and to the mitochondria. This localisation is thus intermediary between that of wild-type cystatin C (targeted to ER/Golgi compartment) and that of variant B precursor cystatin C. Furthermore, the level of secretion of Ala25Ser cystatin C by RPE cells is intermediary between wild type and variant B cystatin C. Ala25Ser precursor cystatin C thus represents a biochemical intermediate between the wild type and the AMD-associated cystatin C and as such, is a novel tool for the investigation of the mechanism of intracellular mis-localisation of variant B cystatin C. Our findings further support the hypothesis that substitution of the alanine residue in the penultimate position of precursor cystatin C signal sequence with a less hydrophobic amino acid residue, such as threonine (as in variant B cystatin C) or serine is sufficient to impair the intracellular trafficking and processing of the protein. © 2006 Elsevier Ltd. All rights reserved
Drama Menu at a Distance: 80 Socially Distanced or Online Theatre Games
No full textComprend un index.‘For however long we must keep our distance, we will continue to create, to reinvent, to strive and to feed our creativity. At a time where performers are needed more than ever, training the next generation of performers must go on!’ Glyn Trefor-Jones, from his Introduction Drama Menu is the revolutionary, hugely popular concept that has transformed the planning and delivery of drama classes for teachers and workshop leaders around the world. Choose an Appetiser or two, a Starter, a Main Course and a Dessert – and voilà! – you’ll have a delicious, dramatic banquet for your students. This new collection, Drama Menu at a Distance – created specifically to help anyone teaching drama during the COVID-19 pandemic – brings you 80 games and exercises, all of which are safe and secure to play in this new era of socially distanced teaching and online learning. It offers dynamic, brand-new exercises to energise, excite and inspire your group, alongside some firm favourites, redesigned to be played within the necessary constraints. Also included is an introduction by the author, with advice and suggestions to support you in delivering your session. Drama Menu at a Distance is the essential recipe book you need to eliminate the challenges of planning lessons and workshops in the ‘new normal’, and leave you with more time for playing. Stay safe – and bon appétit
Elinor Glyn's British Talkies: Voice, nationality and the author on-screen
No full textExisting accounts of Elinor Glyn's career have emphasized her substantial impact on early Hollywood. In contrast, relatively little attention has been paid to her less successful efforts to break into the UK film industry in the early sound period. This article addresses this underexplored period, focusing on Glyn's use of sound in her two 1930 British films, Knowing Men and The Price of Things. The article argues that Glyn's British production practices reveal a unique strategy for reformulating her authorial stardom through the medium of the ‘talkie’. It explores how Glyn sought to exploit the specifically national qualities of the recorded English voice amidst a turbulent period in UK film production. The article contextualizes this strategy in relation to Glyn's business and personal archives, which evidence her attempts to refine her own speaking voice, alongside those of the screen stars whose careers she sought to develop for recorded sound. It suggests that the sound film was marked out as an important, exploitable new tool for Glyn within a broader context of debates about voice, recorded sound and nationality in UK culture at this time. This enabled her to portray a distinctively national brand identity through her new film work and surrounding publicity, in contrast to her appearances in American silent films. The article will show that recorded sound further allowed Glyn performatively to foreground her role as author-director through speaking cameos. This is analysed in relation to wider evidence of her practice, where she reflected on the performative qualities of the spoken voice in her writing and interviews, and made use of radio, newsreel and live performance to perfect and refine her own skills in recitation and oration
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