Artykuły w czasopismach na temat „Solitary midges”

PlatygasteringeniosusMatsuo & Yamagishi,sp. n.andP.urniphilaMatsuo & Yamagishi,sp. n.(Hymenoptera: Platygastridae) are described from Japan. The former species is an egg-larval solitary parasitoid ofMasakimyiapustulaeYukawa and Sunose (Diptera: Cecidomyiidae). The latter species is an egg-larval gregarious parasitoid ofRhopalomyialongitubifex(Shinji) (Diptera: Cecidomyiidae).

Intestinal malrotation with midgut volvulus presenting in adults is a rare entity, and association with jejunal diverticulum is rarer still. Herein, we report and review such a case of malrotation and volvulus, associated with intestinal band adhesions and a solitary jejunal diverticulum. This 67 years old gentleman had presented with complaints of intermittent abdominal pain for past several years. Imaging of the abdomen revealed twisting of superior mesenteric artery and vein, evidence of midgut volvulus and intestinal malrotation with “whirlpool sign”. Laparotomy revealed a midgut volvulus, extensive adhesions involving the root of the mesentery and a jejunal diverticulum. Adhesiolysis was performed, untwisting of the bowel was done and the jejunal diverticulum was resected. Post-operative period was uneventful. This case is being reported on account of its extreme rarity.

As a result of the introduction of imaging research methods into clinical practice, the frequency of detection of cavities in the liver has significantly increased, among which nonparasitic cysts have not been sufficiently studied. The paper provides an overview of the most commonly used classifications of this pathology. Clinical and radiological manifestations of cysts were investigated based on the analysis of the results of computed tomography, magnetic resonance imaging and ultrasound sonography of 175 patients (109 with solitary cysts and 66 with polycystic liver). The tissues of the resected areas of 81 cysts and adjacent liver tissue were studied by histological and immune-histochemical methods. Various variants of liver cysts were identified: polycystic cysts, solitary cysts and the rarest variant - ciliated anterior-intestinal hepatic cysts. The morphological and histogenetic features of solitary and ciliated anterior-intestinal hepatic cysts, as well as changes in the liver tissue adjacent to the cavities, are described. Polycystic is characterized by the presence of cavities of various sizes, with thin connective tissue partitions and a lining of cubic or flattened epithelium. The lining of solitary cysts is represented by cubic, cylindrical, sometimes multi-row epithelium. Immature biliary structures in the form of von Meijenburg complexes, islets of hepatocytes, conglomerates of dysplastic vessels are revealed in their wall among the cells of connective tissue. Ciliated anterior-intestinal hepatic cysts contain components of the primary intestine wall - a lining of a cylindrical ciliated epithelium, a layer of loose connective tissue, a muscle layer, a connective tissue capsule. Morphological studies made it possible to establish violations of embryogenesis in various types of cysts. Ciliated anterior intestinal hepatic cysts develop from the anterior section of the primary intestine, while solitary cysts are derived from its middle section. Migration of the developing buds of bronchioles from the cranial part of the primary midgut into the hepatic diverticulum determines the presence of all components of the wall of the hollow organ - cylindrical ciliated epithelium, loose connective tissue, bundles of smooth muscle fibers. Simple solitary cysts are the result of abnormal remodeling of the embryonic ductal lamina, thus being a developmental abnormality of the middle section of the primary midgut. Morphological examination of the liver tissue adjacent to the walls of the cysts reveals hypoplasia of lobules, persistence of elements of the embryonic ductal plate in the form of cords and complexes of the biliary epithelium, foci of ductopenia, von Meijenburg complexes, and various variants of vascular dysplasia.

AbstractTribolium castaneum Herbst 1797 (Coleoptera: Tenebrionidae), an important pest of stored grains and byproducts, is naturally infected by Gregarina cuneata Stein 1848 (Apicomplexa: Gregarinidae). Changes in the life cycle of insects caused by the parasite development in the midgut were studied. Trophozoites, gamonts (solitary and associated), and gametocysts were present in the midgut of the insects. In young trophozoites, the apical region differentiated into an epimerite that firmly attached the parasite to the host epithelial cells. With maturation, trophozoites developed in gamonts that were associated with the initiation of sexual reproduction in the cell cycle, culminating in the formation of the spherical gametocyst. Morpho-functional analyses indicated that gregarines absorb nutrients from infected cells and can occlude the midgut as they develop. Consequently, nutritional depletion may interfere with the host's physiology, causing decreased growth, delayed development, and high mortality rates of the parasitized insects. These results suggest G. cuneata could be an important biological agent for controlling T. castaneum in integrated pest management programs.

This study investigated different bacterial communities in three intestinal parts (foregut, midgut and hindgut) of Xylocopatenuiscapa to understand the roles of gut bacteria. Our phylogenetic analysis revealed that X. tenuiscapa is closely related to Xylocopa latipes. The 16S rRNA gene in the genomic DNA samples from the gut was examined by illumina (Solexa) and a total of 998 operational taxonomic unit (OTUs) clusters were found. Taxonomic classification identified 16 bacterial phyla and unclassified bacteria. The dominant bacteria taxa in the three parts of X. tenuiscapa gut were Proteobacteria, Firmicutes, Bacteroidetes and Actinobacteria. In the foregut, Lactobacillales and Enterobacteriaceae were predominantly found. The population in the midgut was similar to that in the foregut, with the addition of Gilliamella, which was also abundant. The most dominant bacteria identified in the hindgut were similar to those in the midgut and Lactobacillales, Enterobacteriaceae, Gilliamella, Bifidobacteriaceae and Flavobacteriaceae appeared in abundance. Moreover, our results suggest that a community structure of bacteria in different parts of X. tenuiscapa’s gut may be an important indicator of carpenter bees’ health. This functional study of bacterial communities revealed significant differences among the three intestinal parts and is the first report of the gut bacteria structure in solitary bees.

Hindgut of Solitary has been into its three regions: ileum, colon, and rectum, and each region was studied morphologically, histologically and functionally. Ileal structure has been investigated throughout its length from pyloric valve ( the border between the midgut and the hindgut) to its end ,which marks the border between the ileum and the colon. The 6 layers apical wall of circular muscles were fully described with the longitudinal muscles. The 12 inner ileal epithelial folds consist of columnar cells with microvilli, which suggest that the ileum is involved with nutrition absorption. The 12 ileal folds are close to the inner wall of the proximal circular muscles, but in another locust are projecting inward the lumen centre. But in both structures the subintimal space is clear. The 12 ileal folds become reduced to the smallest in size and less in count. Their reduction continues to the lowest size till they become traces at the end of the ileum. The colon structure shows that the diameter becomes small and the tissue between the layer circular muscles and the 4 thick folds of the colon. The area between the circulat muscles and the inner columnar cells is full of thick longitudinal muscles. The rectal structure shows the 6 large rectal papillae and small rectal pads which grow to replace the rectal papillae. Rectal papillae are involved with mineral and water re-absorption. At the middle rectal area structure shows 6 areas occupied by rectal pads and 6 reduced between rectal areas, which have columnar epithelial cells. Their function is to facilitate the faeces evacuation by their contraction and expanding as they do as articulation. Rectal pads show different type of cells such principal cells, basic cells and junctional cells. Also intrapapillar lumen, tracheae, and also the circular and longitudinal muscles are very clear .

The emerald jewel wasp Ampulex compressa (Hymenoptera: Ampulicidae) is a solitary wasp that is widely known for its specialized hunting of cockroaches as larvae provision. Adult wasps mainly feed on pollen and nectar, while their larvae feed on the cockroachs’ body, first as ecto- and later as endoparsitoids. Little is known about the expression of digestive, detoxification and stress-response-related genes in the midgut of A. compressa, or about its transcriptional versatility between life stages. To identify gut-biased genes related to digestion, detoxification, and stress response, we explored the midgut transcriptome of lab-reared A. compressa, for both adults and larvae, by focusing on the top 100 significantly up- and down-regulated genes. From the top 100 significantly differentially expressed genes (DEGs), we identified 39 and 36 DEGs putatively related to digestion and detoxification in the adult wasps and larvae, respectively. The two carbohydrases alpha-glucosidase (containing an alpha-amylase domain) and glycosyl hydrolase family 31, as well as the two proteinases chymotrypsin and trypsin, revealed the highest gene diversity. We identified six significant DEGs related to detoxification, which comprise glutathione S-transferase, cytochrome P450s and UDP-glucuronosyltransferase. The gene expression levels that were significantly expressed in both life stages vary strongly between life stages, as found in genes encoding for chymotrypsin and trypsin or glycosyl hydrolases family 31. The number of genes related to alpha-glucosidase, glycosyl hydrolase family 31, and cytochrome P450s was found to be similar across nine reference hymenopteran species, except for the identified glycosyl hydrolase family 31 gene, which was absent in all reference bee species. Phylogenetic analyses of the latter candidate genes revealed that they cluster together with their homologous genes found in the reference hymenopteran species. These identified candidate genes provide a basis for future comparative genomic and proteomic studies on (ontogenetic) dietary transitions in Hymenoptera.

AbstractInfection of Lacanobia oleracea(Linnaeus) larvae with the microsporidium Vairimorpha necatrix(Kramer) resulted in significant effects on the survival and development of the braconid parasitoid, Meteorus gyrator(Thunberg). Female M. gyrator did not show any avoidance of V. necatrix-infected hosts when they were selecting hosts for oviposition. When parasitism occurred at the same time as infection by the pathogen, or up to four days later, no significant detrimental effects on the parasitoid were observed. However, when parasitism occurred six to eight days after infection, a greater proportion(12.5–14%) of hosts died before parasitoid larvae egressed. Successful eclosion of adult wasps was also reduced. When parasitism and infection were concurrent, parasitoid larval development was significantly faster in infected hosts, and cocoons were significantly heavier. However, as the time interval between infection and parasitism increased, parasitoid larval development was significantly extended by up to two days, and the cocoons formed were significantly (c. 20%) smaller. Vairimorpha necatrix spores were ingested by the developing parasitoid larvae, accumulated in the occluded midgut, and were excreted in the meconium upon pupation.

Abstract Objectives Gastric heterotopia (GHT) is a commonly reported epithelial heterotopia and has been described as heteroplasia (congenital) during organogenesis or metaplasia (acquired) during process of damaged epithelial repair. GHT can occur along the GI tract from nose to anus; it is predominantly seen in esophagus, duodenum, and Meckel’s diverticulum. It is the most common subtype of epithelial heterotopia. However, the presence of gastric mucosa in the rectum is a very uncommon entity. The endoscopic prevalence of GHT can reach up to 11% in foregut and midgut with a lesser prevalence in hindgut. Methods We present an interesting case of heterotopic gastric mucosa presenting as a rectal mass. A 27-year-old female patient presented with lower abdominal pain and episodic bloody diarrhea. After initial workup, a colonoscopy was done, which showed a 3-cm mass in the rectum. Features of inflammatory bowel disease were not identified. Results At the first rectal biopsy, multiple fragments of gastric mucosa, with some minimally attached rectal crypts, were identified and a diagnosis of gastric heterotopia was made. Subsequently, the mass was resected and similar findings were identified, confirming the diagnosis. Our case showed mixed oxyntic and antral mucosa comingling with rectal-type mucosa. Immunohistochemical studies were performed, which showed CDX2 and CK20 being positive in rectal and CK7 in gastric mucosa. Conclusion Gastric heterotopia is a rare entity that can present as a solitary lesion. The clinical signs and symptoms can mimic those of inflammatory bowel disease. Floater or contamination is an important pitfall in this entity and can lead to an erroneously diagnose. Due to high frequency of having floater in some histology laboratories, we recommend ordering multiple deeper recuts on cases when the pathologist sees closeness or attachment of gastric tissue to the rectal tissue.

In most animal species, germ cell precursors, i.e., primordial germ cells (PGCs), arise from the epiblast and then migrate to the future gonadal ridge during development. At least in the mouse, PGCs may be cultured as embryonic germ cells that remain pluripotent. PGCs are the only cells in which OCT4 expression is maintained after gastrulation. The present study aimed at identifying the localization of PGCs in Day 21 in vivo-derived bovine embryos by immunohistochemical staining against OCT4. Six embryos were obtained after slaughter of superovulated heifers 21 days after insemination. The uterine tracts were flushed and embryos fixed, paraffin-embedded, and processed for immunohistochemistry. Embryos were sagitally sectioned, and selected serial sections were immunohistochemically stained for OCT4 to identify potential PGCs. Two embryos were at the neural groove stage. At this stage of development, the primitive gut had not yet been abstricted from the yolk sac and the allantois was not visible. A weak homogeneous OCT4 staining was localized to nuclei in a well-defined region of the epiblast, which was in the process of a gradual anterior to posterior differentiation into neural and surface ectoderm. Moreover, a strong OCT4 staining was localized to a few scattered cells found in the visceral mesoderm associated with the yolk sac in the region of the endoderm-hypoblast transition at some distance from the embryo proper. Four embryos were at the neural tube/somite stage. At this stage of development, the primitive gut had been defined and only the midgut was connected to the yolk sac. Furthermore, the allantois was visible as an anchor-shaped structure at the posterior end of the embryo. A strong OCT4 staining was found in nuclei of solitary cells in the endoderm and its associated visceral mesoderm of the ventral aspect of the mid and hindgut. The described OCT4 staining corresponds well with previous findings in the pig, in which presumptive PGCs are found in the endoderm epithelium during the neural groove stage. Later, during the early somite stages, they are localized in the endoderm and visceral mesoderm of the yolk sac and allantois, and in later somite stages, they are found in the developing genital ridge. This is, however, the first study to demonstrate the localization of these cells, at least by OCT4 staining, in bovine embryos at the neural groove and neural tube/somite stages.

Pediobius sasae sp. nov. (Hymenoptera: Eulophidae) is described from Japan. This new species belongs to the “eubius-complex” of species and is compared to the species of that group. It was reared from galls induced by an unidentified gall midge of the tribe Oligotrophini (Diptera: Cecidomyiidae). The galls are formed on stems of dwarf bamboo (Sasa nipponica). Pediobius sasae is a solitary primary parasitoid on the gall midge, but possibly also acts as a secondary parasitoid of another parasitoid reared from the same host, an unidentified species of Torymus (Hymenoptera: Torymidae).

AbstractDescriptions of structures and life histories of two new species of septate gregarines (Apicomplexa, Conoidasida) are given. These are: Quadruspinospora cloptoni sp. nov. and Quadruspinospora caudata sp. nov. from the midguts of Oxya hyla hyla Serville and Gesonula punctiformes (Stal.) (Insecta, Orthoptera, Acrididae), respectively. Trophozoites of Q. cloptoni attain a maximum length of 944 μm and their epimerites are either a simple knob or cauliflower-like without any digitiform process; gamonts are solitary and, spherical gametocysts, 390 μm, release ovoid oocysts by a simple rupture, the latter being provided with four characteristic spines, two at each pole. Trophozoites of Q. caudata are much smaller, 578 μm in maximum length, and the epimerite in this gregarine is short and cone like. Spherical gametocysts, 365 μm, also dehisce by a simple rupture releasing ovoid oocysts having four typical spines, characteristic of the genus Quadruspinospora Sarkar et Chakravarty, 1969. The validity of Quadruspinospora as a distinct genus is discussed.

Ladd’s syndrome is a complex gastrointestinal anomaly that occurs based on congenital intestinal malrotation and leads to midgut volvulus and intestinal obstruction. It is mostly discovered in paediatric patients and presents itself in 90% of cases within the first year of life. It is a rare diagnosis in adult patients. We present the case report of a 19-year-old female patient with chronic abdominal pain and upper-type dyspeptic syndrome. MRI examination of the abdomen showed an abnormal location of the loops of the small intestine predominantly in the right part of the abdomen, caecum and c. ascendens in the epigastrium, duodenojejunal transition compressed and stenotized between upper mesenteric vessels and the aorta, with prestenotic dilatation of the duodenum and stomach and the “whirlpool sign” in mesentery. The patient was indicated for operational procedure and Ladd’s operation was successfully performed laparoscopically, where “Ladd’s bands” were divided; the procedure also included adhesiolysis, mobilization of the duodenum with its straightening, widening of the base of the mesentery, appendectomy and removal of an incidental solitary mesothelial cyst. A highly differentiated incidental neuroendocrine tumour of the apex of appendix was confirmed by histology. In the discussion, we focus on the rarity of intestinal malrotation in adulthood, clinical manifestation of the disease, diagnostic options and surgical treatment.

BackgroundEusocial bees, such as bumblebees and honey bees, harbor host-specific gut microbiota through their social behaviors. Conversely, the gut microbiota of solitary bees is erratic owing to their lack of eusocial activities. Carpenter bees (genus Xylocopa) are long-lived bees that do not exhibit advanced eusociality like honey bees. However, they often compete for nests to reproduce. Xylocopa caerulea and Xylocopa auripennis are important pollinators of wild plants on Hainan Island. Whether they have host-specific bacteria in their guts similar to eusocial bees remains unknown.MethodsWe targeted the bacterial 16S rRNA V3-V4 region to investigate the diversity of bacterial symbionts in the fore-midgut and hindgut of two carpenter bees, X. caerulea and X. auripennis.ResultsA maximum of 4,429 unique amplicon sequence variants (ASVs) were detected from all samples, belonging to 10 different phyla. X. caerulea and X. auripennis shared similar bacterial community profiles, with Lactobacillaceae, Bifidobacteriaceae, and Orbaceae being dominant in their entire guts. X. caerulea and X. auripennis harbor a highly conserved core set of bacteria, including the genera Candidatus Schmidhempelia and Bombiscardovia. These two bacterial taxa from carpenter bees are closely related to those isolated from bumblebees. The LEfSe analysis showed that Lactobacillaceae, Bifidobacteriaceae, and the genus Bombilactobacillus were significantly enriched in the hindguts of both carpenter bees. Functional prediction suggested that the most enriched pathways were involved in carbohydrate and lipid metabolism.ConclusionsOur results revealed the structure of the gut microbiota in two carpenter bees and confirmed the presence of some core bacterial taxa that were previously only found in the guts of social bees.

Recent global declines in bee health have elevated the need for a more complete understanding of the cellular stress mechanisms employed by diverse bee species. We recently uncovered the biomarker lethal (2) essential for life (l(2)efl) genes as part of a shared transcriptional program in response to a number of cell stressors in the western honey bee (Apis mellifera). Here we describe another shared stress responsive gene, Glycine N-methyl transferase (Gnmt), which is known as a key metabolic switch controlling cellular methylation reactions. We observed Gnmt induction by both abiotic and biotic stressors. We also found increased levels of the GNMT reaction product sarcosine in the midgut after stress linking metabolic changes with the observed changes in gene regulation. Prior to this study, Gnmt upregulation has not previously been associated with cellular stress responses in other organisms. To determine whether this novel stress-responsive gene would behave similarly in other bee species, we first characterized the cellular response to ER stress in lab-reared adults of the solitary alfalfa leafcutting bee (Megachile rotundata) and compared with age-matched honey bees. The novel stress gene Gnmt was induced in addition to a number of canonical gene targets induced in both bee species upon UPR activation, suggesting that stress-induced regulation of cellular methylation reactions is a common feature of bees. Therefore, this study suggests that honey bee can serve as an important model for bee biology more broadly, although studies on diverse bee species will be required to fully understand global declines in bee populations.

Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapologetic commercialism, and outright catatonic demeanour, is completely disruptive to the traditional humanist artist biography. It is unsurprising, then, that recent film protagonists within the more traditional bio-pic framework found Warhol a figure that needed to be contained, neutralised, discredited, and even shot. Mainstream cinematic narrative has added little to the conventions of the artist biography since the Renaissance. Renaissance painter and biographer Giorgio Vasari appropriated the Petrarchian edifying "Great Lives" model to ennoble and sanitise the often problematic and distasteful personalities who populated the Italian art world. This approach prevailed over the next several hundred years, and was expanded upon by the intellectual figures of the Romantic period (who were very aware of Vasari's work). The Romantics contributed to the profile of a proper artist the following traits: misunderstood intellectual fury, dark psychological depths, and flouting of social convention. The bio-pic genre, especially as it relates to biographies of artists, also lauds humanistic "greatness" as its standard of significance. The bio-pic absolutely relies on a strong central figure, who can be shown in about two hours to have some substantial educational value, worthy of the expense of the film-makers and the attention of the viewer. In the mid-1990s, not long after his unexpected death in 1987, a character called "Andy Warhol" appeared in supporting roles in a number of feature films. The Doors (1991), Basquiat (1996), and I Shot Andy Warhol (1996) all feature an Andy Warhol character grounded squarely in various popular myths. All of the three 90s feature films which include Warhol in a substantial speaking role explicitly contrast him against another artist-figure. This other artist is presented as somehow preferable to Warhol, whether in conviction, authenticity, or validity of vision. The artist in question, Basquiat/Morrison/Solanas, predictably serves as the film-makers' lens through which the past is refracted (though more problematically in the case of Solanas). Warhol is outward sign of Basquiat's slide, the danger of fame-mongering for Morrison, and Valerie Solanas's misogynist nemesis. In each case, the more valorised figure is at first twinned with Warhol when drawn into his orbit. Eventually, the film's narrative contrasts the main subject against what the diegetic Warhol represents. In each case, Warhol becomes a metonymic representation of a larger organising factor: the economic/personality-driven entertainment industry, phallocentric hegemony, art's dead end, etc. The demonisation of Warhol in recent bio-pics is a good starting point for examining how his image is being interpreted by the mainstream media. It is clear that in this particular forum, Warhol's impact is understood only negatively. The purpose of this study will be to demonstrate how uncomfortable the creative arts world in general, and narrative film-making in particular, is with the "empty" legacy of Warhol and his Factory, and how the reactions against it illustrate a fear of Warhol's anti-humanist, subject-less project. It is fascinating that in the feature films, Warhol appears solely as a character in other people's stories rather than as the focus of biographical treatment. Warhol's very conscious emptying-out project has made nearly impossible any effort to deal with him and his legacy in any traditional narrative manner. Warhol's public persona -- simple, boring, derivative, and unheroic -- is directly at odds with the conventional "artist-hero" subjects necessary to the bio pic genre. This type is seen most typically in the old potboilers The Agony and the Extasy, about Michelangelo, and Lust for Life, about Van Gogh, as well as the more recent Artemisia about Artemisia Gentileschi. The very fact of Andy's posthumous film career fits neatly into his performative œuvre as a whole, and is easily interpreted as an extension of his life-long project. Warhol's entire self-imaging stratagem steadfastly affirmed that there is no center to illuminate -- no "real" Andy Warhol behind the persona. Warhol constantly disavowed any "meaning" beyond the surface of his art works, and ascribed it no value beyond market price. He preferred methods and forms (advertising, silk-screening, and film-making) that were easy for his Factory workers to execute and endlessly duplicate after his vague orders. Further, he ascribed no importance to his own bodily shell as "artist Andy Warhol". In an act of supreme self-branding, Warhol sent actors to impersonate him at lectures (most famously at University of Utah, who demanded he return the lecture fee), since he was only a packaged, reproducible product himself. In Warhol's art, there is no hand-made integrity, no originality, no agonised genius in a garret. He displays none of the traits that traditionally have allowed artists to be called geniuses. Warhol's studio's automation, the laying bare of the cheapest and slickest aspects of the culture industry, has long been the most feared facet of Warhol's artistic legacy. It is beside the point to argue that Warhol's meaninglessness is thematised to the degree that it has meaning. Warhol's erasure of all humanistic "aura" clearly remains threatening to a great number of artists, who rely heavily on such artistic stereotypes. Basquiat In 1996's Basquiat, painter/director Julian Schnabel used the dead painter as a proxy for telling his "I was there" version of the 80s New York art scene. In Schnabel's rather heavy-handed morality tale, young African-American painter Jean-Michel Basquiat's meteoric burn-out career is treated as a metaphor for the 80s art world as a whole. Schnabel clearly knows his Vasari. His film's scenario is a barely modified adaptation of humanist/romantic artist mythology. Traces of Vasari's tale of Cimabue's discovery of Giotto, as well as Van Gogh's various misunderstood artist scenarios are laboriously played out. In fact, the first words in the film invoke the Van Gogh cliché, foregrounding Schnabel's myth-making impulse. They are art critic Rene Ricard's, speaking over Basquiat waking up in a cardboard box in Central Park: "everyone wants to get on the Van Gogh boat. ... No one wants to be part of a generation that ignores another Van Gogh, ... When you first see a new picture, you have to be very careful. You might be staring at Van Gogh's ear." This quote sets the tone for Basquiat's art world experience narrative, trotting out every single Van Gogh-inspired legend (with heroin abuse standing in for the cut-off ear) to apply to Basquiat. In fact, the film veritably thematises Romantic cliché. The film's main project is the mythologisation of Jean-Michel and by extension Schnabel. However, by foregrounding the Van Gogh/Basquiat connection in such self-conscious terms, it seems the viewer is supposed to find it "ironic". (The irony is really that this po-mo window dressing is otherwise deeply at odds with the rest of the film's message.) The film suggests that Basquiat is both worthy of the allusion to the great humanistic tradition, and that his special case ("the first great black painter") changes all the rules and makes all clichés inapplicable. Schnabel's art, which is usually described as "Neo-Abstract Expressionist", and particularly his market value, relies heavily on the aura created by previous artists in the macho heroic mold. His paintings take up Pollock's "all over" effect but with de Kooning's jauntier color. He also fastens found objects, most famously broken plates, in a pastiche of Rauschenberg and Jasper Johns. Like Warhol, Schnabel often borrows recognisable motifs. However, instead of advertising and popular culture, Schnabel's come from a more elevated tradition; Old Master paintings appropriated from "legitimate" art history. Needless to say, Julian Schnabel himself has much invested in reaffirming the artist-genius myth that is threatening to be deconstructed by a good number of art critics and historians. Schnabel's agenda is specifically art historical, though no less political. Schnabel, through Basquiat, restores the artist to his proper place as individual creator challenging the outmoded conventions of established art. Warhol, portrayed as the quintessential post-modern artist, represents all that has gone wrong in the art world: superficiality, mass production, commodification, popular culture influence, and the erasure of art history and deep significance. In spite of the film's self-consciousness about the phoniness of the gallery scene, Basquiat's lionisation by it validates a retrograde concept of "pure" artist's vision. Schnabel is attacking what he sees as the deadening effect of post-modernism that threatens Schnabel's own place in art history. Basquiat's escalating drug problem and alliance late in the film with Warhol signals that he has followed the wrong direction, that he is hitting a dead end. The character Milo (Gary Oldman), the Schnabel manqué, sets up the contrast to illustrate Basquiat's slide. Milo is aligned with all that is exemplary in establishment virtues of hearth and home (doting fatherhood, settled domesticity, good living). The wholesome hand-made integrity of Milo/Schnabel's art, in line with traditional definitions of artistic greatness, is deeply at odds with the affected commercialism of Warhol's work. Schnabel's artistic influences show up clearly in his very marked progressive view of art history and clearly named privileged pantheon. In the film, Schnabel is at pains to insert Basquiat and himself into this tradition. The very first scene of the film sees Jean-Michel as a child with his mother at the MOMA, where she is in tears in front of Picasso's Guernica. In the narrative, this is quickly followed by Ricard's Van Gogh quote above. As an adult, Jean-Michel enacts Rauschenberg's edict, to "narrow the gap between art and life". This is illustrated by Jean-Michel not restricting his artistic output to work on canvas in a studio. He graffitis walls, signs table tops à la Rauschenberg, and makes designs on a diner countertop in maple syrup. Later, Jean-Michel is shown painting in his studio walking around the canvas on the floor, in an all-over technique, mirroring the familiar Hans Namuth film of Jackson Pollock. Aligning Jean-Michel with the pre-Warhol, and especially Abstract Expressionist artists, positions Basquiat and Schnabel together against the "dead end" of Warhol's version of Pop. Basquiat and the director have inherited the "right" kind of art, and will be the progenitors of the next generation. Warhol as a "dead end" leads to a discussion of the relationship between artists' procreative sexuality and their art. In the film, Warhol is assumed to be asexual (rather than homosexual), and this lack of virility is clearly linked to the sterility, transitoriness, and barrenness of his art. Schnabel/Milo and Basquiat, in their marked heterosexuality, are the "fathers" of the next generation. In Basquiat's collaboration with Warhol, even Andy understands his own impotence. Warhol says, "I can't teach you anything, you're a natural, are you kidding me?", and most importantly, "you paint out everything I do, Jean-Michel". By privileging Jean-Michel's art (and his own) over Warhol's, Schnabel is clearly trying to paint out the mutation of the Warholisation of art, and paint in his own art historical eugenics. The Doors In a less substantial role but in a similar vein, Warhol also appears briefly in Oliver Stone's 1991 The Doors, as part of a brief "rising fame" montage of New York incidents. Like Schnabel, Stone has a lot to lose from investment in Warhol's spiritual and aesthetic emptiness. Though brief, Warhol's appearance in the film, like in Basquiat, serves as a cautionary tale for its hero. The contrast made between the vacuous Factory crowd and the "authentic" Doors presages the dominant trope for the Warhol character that Schnabel would expand upon later. The Factory sequence dramatises the glamour and seductiveness of the hollow side of fame that may lead Morrison off his spiritual-quest path. The Native American shaman who Jim sees at pivotal points in his life appears at the Factory, warning him not to take the wrong path represented by Warhol. The Doors are at a pivotal moment, the onset of fame, and must act carefully or risk ending up as meaningless as Warhol. Stone's chronicling of the 60s relies heavily on what could be called the humanist ideal of the power of the individual to effect change, raise consciousness, and open minds. Via Stone's simple reductiveness, Warhol represents here the wrong kind of counter-culture, the anti-hippie. By emulating Warhol, the Doors follow the wrong shaman. To Stone, Warhol's superficiality represents all that is dangerous about celebrity and entertainment: the empty, mind-destroying cocaine high of the masses. I Shot Andy Warhol The film I Shot Andy Warhol (1996) problematises the idea put forth in the other films of Warhol as artistic anti-Christ, simply because the film's subject is much more difficult to heroise, and like Warhol does not fit snugly into bio-pic conventions. Like Basquiat, the film also takes the point of view of a protagonist at the edge of Warhol's sphere of influence, here radical feminist and S.C.U.M. (the Society for Cutting Up Men) Manifesto scribe Valerie Solanas, in order to criticise what Warhol represents. Unlike the previous films, here Warhol's character is central to the narrative. Although Warhol clearly represents something very negative to the Solanas character, the film never fully endorses its subject's point of view. That Warhol deserved and needed to be shot for any reason beyond Solanas's personal demons is never established. Perhaps this ambivalence is a flaw of the film, but it is also telling about the problematic legacies of feminism and Pop, two movements that have led to challenges of the hero-artist ideal. In this film, the relationship between Warhol and the main protagonist is extremely complex. Andy and his crowd are presented as clearly odious. Though Valerie comes off as more interesting and sympathetic, she is also still clearly an unhinged oddball spewing specious ideology. Within the film, Valerie's attraction to the Factory scene seems to stem from something her friend, transvestite Candy Darling, says: "if anyone can make you a star, Andy Warhol can". Valerie desperately wants attention for her radicalism (and likely for other psychological reasons, which make radicalism attractive to her, as well), and sees Andy's power for "star-making", especially among the more marginal of society, as something from which she can profit. Valerie's mistake seems to be in confusing the artistic avant-garde with the politically radical. Valerie finds kinship in Warhol's androgyny and lack of enthusiasm for sex, but does not realise immediately that Andy is interested in her play Up Your Ass primarily for its titillation and shock value, and is entirely uninterested in it from a content standpoint. The content/emptiness conflict in Valerie and Andy's "artistic visions" becomes one of the major thematics in the film. Though like Solanas, he finds community with margin-dwellers, Andy is portrayed as far too implicated in and dependent on the so-called culture industry in order to be "Andy Warhol -- Superstar". Andy's interest in the low-life that Valerie represents is, of course, wholly superficial, which enrages her. She sees no worthy theoretical position in the banal contentlessness of Andy's circle. Valerie's manifesto and dramatic works have almost an excess of content. They work to kick people in the balls to get them to open their eyes and see the appalling conditions around them. The Warhol here, like in The Doors, wants people to see empty banality, but has no interest in effecting change. Valerie's play, as read simultaneously in the lesbian coffee shop and at Andy's studio, dramatises this divergence. When Warhol and crowd read the script with dull inflection, inert on the couch, one can imagine the very words being put to use in a Warhol film. When Valerie and friends perform those same words, the passionate engagement and deep meaningfulness -- at least to Valerie -- capture her urgent commitment to her ideas. As Valerie gets more desperate to disseminate her ideas, and thus begins to further alienate the Factory crowd, she starts to see Andy as in fact the bodily symbol of the "man" she wants cut up. Not only does he represent the patriarch of the art world who has dismissed her and has invalidated her vision, but also more broadly the hierarchy and deep structure of Andy's world parallels the consumeristic and image-driven society at large. If Valerie wants to live with integrity within her own code, the "man" must be deposed. On top of the personal gratification she would receive in this act, Solanas would also finally find a world-wide audience for her views. Now we can understand why, when asked by the press why she shot Andy, Valerie tells them "he had too much control over my life." Unhappily, instead of women rising up against their male oppressors to take up their rightful place of superiority, Solanas gets labeled a "lunatic" by the same media and larger establishment which (in this film) proclaim Warhol a genius. Solanas dissolves into a bit-player in the Andy Warhol story. One of the major interests of this film is that it excerpts a player from the limits of that "master narrative" story and allows them their own subjecthood. I Shot Andy Warhol, with its assertive quotational title, seems to want to reinscribe subjecthood to one of the most truly radical of Andy's superstars, reclaiming the value of Valerie's polemics from the emptiness of her anecdotal role in Warhol's biography. Though Valerie clearly sees Andy as her nemesis, the film constructs him as a boring, ineffectual, self-absorbed effete. The great weakness of the film is that their conflict begins to look like a midget wrestling contest. Since both are competing for higher freakdom, the broader implications of either of their projects are only rarely glimpsed. It should be clear by now that for so many, fictional Warhol is not just a problematic figure, but nearly a monstrous one. The film-makers clearly show what elements of Warhol's representative strategy they find so threatening. Schnabel and Stone have the most to lose in the replacement of their value systems (genius investment and 60s macho spirituality) by what they perceive as postmodern de-centredness, and therefore need to attack that threat the most forcefully. Less conservatively, for Harron, Warhol's Pop objectification of everyone, including women, seems to threaten women's hard-won subjectivity through feminism. Warhol, Morrison, Basquiat and Solanas were all artists who played heavily on their roles as outsiders to mainstream society. These films build the film-makers' soapbox on the "right" way to be alienated, bourgeois-hating, and rebellious, and the films assume a sympathetic viewing audience. Even though the interest in Warhol and his flashy milieu probably got at least two of these films made in the first place, it seems clear that even the more independently-minded film establishment would rather align themselves with the romanticised artist bio-pic subject than the black hole they fear Warhol personifies. Perhaps the character Andy Warhol is put to most appropriate use when he is only glimpsed, such as in the films Death Becomes Her, where he appears as one of the party guests for people who have taken the magic potion to live forever, and as part of the 70s glam wallpaper in 54. This kind of "product placement" use of Warhol most succinctly encapsulates the vacant banality he espoused. In these films, Warhol is unburdened by other artists' attempts to fill him up with meaning. Warhol is taken at his word. His easily recognisable and reproducible bodily shell is hollow and superficial, just as he said it was. Warhol, Morrison, Basquiat and Solanas were all artists who played heavily on their roles as outsiders to mainstream society. These films build the film-makers' soapbox on the "right" way to be alienated, bourgeois-hating, and rebellious, and the films assume a sympathetic viewing audience. Even though the interest in Warhol and his flashy milieu probably got at least two of these films made in the first place, it seems clear that even the more independently-minded film establishment would rather align themselves with the romanticised artist bio-pic subject than the black hole they fear Warhol personifies. Citation reference for this article MLA style: Julie Turnock. "Painting Out Pop: "Andy Warhol" as a Character in 90s Films." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/warhol.php>. Chicago style: Julie Turnock, "Painting Out Pop: "Andy Warhol" as a Character in 90s Films," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/warhol.php> ([your date of access]). APA style: Julie Turnock. (1999) Painting out pop: "Andy Warhol" as a character in 90s films. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/warhol.php> ([your date of access]).