3 research outputs found
Ethanolic Extract of Hedyotis corymbosa and Its Combination with 5-FU Inhibit Cyclin D Expression on WiDr Colorectal Cancer Cell
No full textHedyotis corymbosa has been used for long time as an important component in several folklore medicine formula to clinically treat various types of cancer, including colorectal cancer (CRC). Previously, Hedyotis corymbosa ethanolic extract (HEE) which contain ursolic acid reported to inhibit CRC growth via induction of cancer cell apoptosis and blocked the cell cycle, preventing G1 to S progression where cyclin D highly espressed in this phase. 5-fluorouracil (5FU), the first line chemotherapy of colorectal cancer have had resistence and possessed several side effects such as neutropenia, immunosuppression, diarrhea, and also constipation. Therefore, the aim of this research is to conduct the antiproliferative effect and molecular analysis of HEE and its combination with 5FU. Molecular docking study was also done to approach the specific protein target of the compound. Antiproliferative effect was conducted by MTT assay, while cyclin D expression was examined by immunofluorescence. The proliferative effect showed that both HEE and 5-FU had cytotoxic effect with IC50 value of 65 µg/mL and 90 µM respectively, meanwhile the combination of HEE and 5FU have synergism effect with CI = 0.48 on dose HEE = 22 µg/mL and 5FU= 6.25 µM. Immunofluorescence assay showed HEE and its combination with 5FU suppressed the expression of cyclin D. From molecular docking simulation, ursolic acid performed stable interaction with cyclin D. Our findings suggest that HEE may be an effective treatment for co-chemotherapic for 5-FU through inhibition of cyclin D expression.Keywords : Hedyotis corymbosa, 5-fluorouracil, colorectal cancer, WiDr, cyclin D
Coming to terms with the National Socialist Past in teamWorx's TV Event Movies: 'Dresden' (2006), 'Nicht alle waren Mörder' (2006) and 'Die Flucht' (2007)
No full textThis thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel. In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany
Coming to terms with the National Socialist Past in teamWorx's TV Event Movies: 'Dresden' (2006), 'Nicht alle waren Mörder' (2006) and 'Die Flucht' (2007).
No full textThis thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel.
In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany
