Literatura científica selecionada sobre o tema "Alison Riley"

Abstract Tumor-associated antigens with little or no expression in healthy tissue are attractive targets for anti-tumor modalities including T cell-engaging bispecific antibodies. CLDN18.2 is a transmembrane adhesion protein undetectable in most healthy adult tissues but highly expressed in gastric, pancreatic, esophageal, and lung cancers. GPRC5D is a G protein-coupled receptor that is absent from most healthy tissues except for hair follicles but expressed on multiple myeloma cells. Both CLND18.2 and GPRC5D are novel oncology targets with no clinically approved therapies against them. Using our discovery platform tailored to complex transmembrane proteins, we have developed bispecific antibodies with the ability to potently kill CLDN18.2-positive or GPRC5D-positive cells. Multipass membrane proteins are valuable therapeutic targets in oncology and other disease areas but are largely inaccessible as antibody targets due to their poor expression, membrane-dependent structure, small extracellular regions, and poor immunogenicity due to sequence conservation. We developed an antibody discovery platform (MPS) that specifically addresses each of these challenges. This platform utilizes advanced immunization techniques including DNA, mRNA, and Lipoparticles (virus-like particles). It also employs chickens as an evolutionarily divergent host species for robust immune responses against conserved targets. Antibodies raised in chickens are directly humanized prior to isolation, reducing the need for downstream engineering. In two separate campaigns, we immunized chickens with CLDN18.2 and GPRC5D and obtained high-titer immune responses. We were successful in isolating high-affinity antibodies specific to each of these targets. Our CLDN18.2 antibodies showed specificity for their target and did not bind the closely related splice variant CLND18.1, which is highly expressed in healthy lung tissue. Additionally, the antibodies showed no binding to ~6,000 other proteins that were screened using a Membrane Proteome Array. A subset of antibodies from both discovery programs were configured as bispecific molecules using a CD3-targeting arm to bring tumor cells into close proximity with cytotoxic T cells that mediate cell killing. The panels of molecules encompassed multiple bispecific formats bearing different stoichiometries, geometries, and sizes to enable identification of lead molecules with favorable activities and safety profiles. Both CLDN18.2 and GPRC5D bispecifics showed potent T cell-mediated cytotoxicity with picomolar potency. They also showed good cytokine release and developability profiles. GPRC5D x CD3 and CLDN18.2 x CD3 bispecifics hold promise as potent and safe therapeutics for different cancer types. Citation Format: Ileine Sanchez, Hayley Roth, Brad Screnci, David Tucker, Nick Molino, Trevor Barnes, Paige Murphy, Kyle Guldner, Tim Phillips, Kristen Shema, Thomas Charpentier, Alyssa Cunningham, Janae Latta, Breanna Tyrell, Meghan Pitts, Carmen Navia, Charles Azuelos, Anna Lobley, Jawhara Karam, Valerie Fiers, Daniela Reyes, Kate Slovik, Alison Snyder, Marianne Assogba, Kai-Ti Chang, Riley Payne, Kyle Doolan, Ross Chambers, Joe Rucker, Benjamin Doranz. Bispecific claudin 18.2 and GPRC5D antibodies with potent cell-killing activity for cancer therapeutics. [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2023; Part 1 (Regular and Invited Abstracts); 2023 Apr 14-19; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2023;83(7_Suppl):Abstract nr 6305.

Prociphilus (Meliarhizophagus) fraxinifolii (Riley, 1879) (Hemiptera: Eriosomatidae) is an alien species in Europe that has been spreading quickly there. This paper presents the origin and current occurrence, classification, description, identification, and biology of this species. It also discusses the harmfulness and threats, especially the impact on host- plants and ecosystem, invasion rate and facilitating factors.

Abstract Background: Despite treatment with trastuzumab-based therapy, up to half of patients with HER2+ advanced/metastatic breast cancer (MBC) will develop brain metastases (BrM). First-line therapy for advanced HER2+ MBC remains a taxane, trastuzumab, pertuzumab (TP) which demonstrates poor brain permeability. Isolated brain relapse with stable or absent extracranial disease remains a clinical problem in both the adjuvant (Untch et al., ESMO 2019 Congress) and metastatic settings (Noteware et al., Breast Cancer Res Treat. 2023). Current guidelines recommend continuing current systemic therapy in the setting of first isolated brain relapse following local therapy. Tucatinib, a brain-penetrable HER2-targeting tyrosine kinase inhibitor, when added to trastuzumab and capecitabine improves intracranial progression free survival (PFS) and overall survival (OS) in patients with stable or active HER2+ BrMs. We hypothesize that adding tucatinib to TP or T-DM1 in patients with HER2+ MBC with isolated brain relapse or progression could delay or prevent the development of further intracranial lesions and improve OS. Methods: BRIDGET (NCT05323955) is a single arm, phase II, multicenter study of tucatinib added to TP or T-DM1 after local therapy in patients with isolated brain relapse or progression. A total of 48 patients at 9 U.S. sites as part of the Hoosier Cancer Research Network (HCRN) with metastatic HER2+ breast cancer will be enrolled after 1st or 2nd BrM relapse or progression within 8 weeks of local therapy. Patients must currently be receiving standard of care treatment with TP or T-DM1 in the metastatic setting, or adjuvant trastuzumab-based or T-DM1 therapy with isolated brain recurrence. Extracranial disease must be stable per RECISTv1.1 or absent. Patients may not have leptomeningeal disease or untreated brain lesions over 5 mm. Patients will receive continuous tucatinib added to their current therapy (TP or T-DM1). The primary objective is intracranial PFS compared to a historical control (H0: PFS < 5 months (mos), HA: PFS > 8 mos) of the HER2CLIMB clinical trial where patients could continue on trial with isolated brain progression. In these patients, median time from brain progression to second progression or death was 7.6 mos (95% CI, 3.9 to 11.3 mos) in the tucatinib arm versus 3.1 mos (95% CI, 1.2 to 4.1 mos) in the control arm (Lin et al., J Clin Onc 2020). Secondary endpoints include PFS by RECISTv1.1, PFS of extracranial disease, locally treated versus new distant intracranial metastasis PFS, site of first progression (brain versus non-brain), OS, and toxicity in patients with BrM. Collection of correlative specimens including archival tissue, cerebrospinal fluid (optional), whole blood for ctDNA are planned. Patient-reported outcomes surveyed utilizing the FACT-BR and FACIT-Fatigue questionnaires are also included for future analyses. As of 7/06/23, accrual is 5 patients of the anticipated 48 patients overall, across 5 sites (Duke University, Dana Farber Cancer Institute, Ohio State University, Providence Portland Medical Center, and Washington University in St. Louis) currently open. An additional 4 sites are pending opening. Those interested in this trial can reach out to the study Principal Investigators, Carey Anders, MD (carey.anders@duke.edu) or Sarah Sammons, MD (sarahl_sammons@dfci.harvard.edu). Citation Format: Sarah Sammons, Amanda Van Swearingen, Laura Noteware, Nusayba Bagegni, Kelly Moulton, Stevie Threatt, Denise Jaggers, Shannon Shea, Eric Lipp, Erin Riley, Sin-Ho Jung, Gloria Broadwater, Masey Ross, Kimberly Strickland, Sasha Beyer, Alison Conlin, Aki Morikawa, Rashmi Murthy, Carey Anders. Secondary BRain metastases prevention after Isolated intracranial progression on trastuzumab/pertuzumab or T-DM1 in pts with aDvanced human epidermal Growth factor receptor 2+ brEast cancer with addition of Tucatinib (BRIDGET) [abstract]. In: Proceedings of the 2023 San Antonio Breast Cancer Symposium; 2023 Dec 5-9; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2024;84(9 Suppl):Abstract nr PO5-20-02.

Thursday 14 December 1989 at the University Museum, Oxford. Thirty members were present. 1. Apologies for absence Alison Armstrong, Bryan Cooper, Tony Cross, Mandy Edwards, Dorothy Hardy, Bob King, Wendy Kirk, Peter Knight, John Martin, Kate Pontin, Tim Riley, Mike Taylor, Steve Tunnicliffe, Geoff Tresise, and Martin Warren. 2. Minutes of the 15th Annual General Meeting 1988 They were approved and signed by the Chairman. 3. Matters arising Di Smith asked about the launch of the Rescue - a Heritage on the Rocks leaflet and the formation of a joint committee as mentioned in the PRO'S 1988 Report. Mick Stanley explained that the PRO had not taken matters further during 1989 but expected that the 1990 Committee would...

Over the past century, many books for general readers have styled sharks as “monsters of the deep” (Steele). In recent decades, however, at least some writers have also turned to representing how sharks are seriously threatened by human activities. At a time when media coverage of shark sightings seems ever increasing in Australia, scholarship has begun to consider people’s attitudes to sharks and how these are formed, investigating the representation of sharks (Peschak; Ostrovski et al.) in films (Le Busque and Litchfield; Neff; Schwanebeck), newspaper reports (Muter et al.), and social media (Le Busque et al., “An Analysis”). My own research into representations of surfing and sharks in Australian writing (Brien) has, however, revealed that, although reporting of shark sightings and human-shark interactions are prominent in the news, and sharks function as vivid and commanding images and metaphors in art and writing (Ellis; Westbrook et al.), little scholarship has investigated their representation in Australian books published for a general readership. While recognising representations of sharks in other book-length narrative forms in Australia, including Australian fiction, poetry, and film (Ryan and Ellison), this enquiry is focussed on non-fiction books for general readers, to provide an initial review. Sampling holdings of non-fiction books in the National Library of Australia, crosschecked with Google Books, in early 2021, this investigation identified 50 Australian books for general readers that are principally about sharks, or that feature attitudes to them, published from 1911 to 2021. Although not seeking to capture all Australian non-fiction books for general readers that feature sharks, the sampling attempted to locate a wide range of representations and genres across the time frame from the earliest identified text until the time of the survey. The books located include works of natural and popular history, travel writing, memoir, biography, humour, and other long-form non-fiction for adult and younger readers, including hybrid works. A thematic analysis (Guest et al.) of the representation of sharks in these texts identified five themes that moved from understanding sharks as fishes to seeing them as monsters, then prey, and finally to endangered species needing conservation. Many books contained more than one theme, and not all examples identified have been quoted in the discussion of the themes below. Sharks as Part of the Natural Environment Drawing on oral histories passed through generations, two memoirs (Bradley et al.; Fossa) narrate Indigenous stories in which sharks play a central role. These reveal that sharks are part of both the world and a wider cosmology for Aboriginal and Torres Strait Islander people (Clua and Guiart). In these representations, sharks are integrated with, and integral to, Indigenous life, with one writer suggesting they are “creator beings, ancestors, totems. Their lifecycles reflect the seasons, the landscape and sea country. They are seen in the movement of the stars” (Allam). A series of natural history narratives focus on zoological studies of Australian sharks, describing shark species and their anatomy and physiology, as well as discussing shark genetics, behaviour, habitats, and distribution. A foundational and relatively early Australian example is Gilbert P. Whitley’s The Fishes of Australia: The Sharks, Rays, Devil-fish, and Other Primitive Fishes of Australia and New Zealand, published in 1940. Ichthyologist at the Australian Museum in Sydney from the early 1920s to 1964, Whitley authored several books which furthered scientific thought on sharks. Four editions of his Australian Sharks were published between 1983 and 1991 in English, and the book is still held in many libraries and other collections worldwide. In this text, Whitley described a wide variety of sharks, noting shared as well as individual features. Beautiful drawings contribute information on shape, colouring, markings, and other recognisable features to assist with correct identification. Although a scientist and a Fellow and then President of the Royal Zoological Society of New South Wales, Whitley recognised it was important to communicate with general readers and his books are accessible, the prose crisp and clear. Books published after this text (Aiken; Ayling; Last and Stevens; Tricas and Carwardine) share Whitley’s regard for the diversity of sharks as well as his desire to educate a general readership. By 2002, the CSIRO’s Field Guide to Australian Sharks & Rays (Daley et al.) also featured numerous striking photographs of these creatures. Titles such as Australia’s Amazing Sharks (Australian Geographic) emphasise sharks’ unique qualities, including their agility and speed in the water, sensitive sight and smell, and ability to detect changes in water pressure around them, heal rapidly, and replace their teeth. These books also emphasise the central role that sharks play in the marine ecosystem. There are also such field guides to sharks in specific parts of Australia (Allen). This attention to disseminating accurate zoological information about sharks is also evident in books written for younger readers including very young children (Berkes; Kear; Parker and Parker). In these and other similar books, sharks are imaged as a central and vital component of the ocean environment, and the narratives focus on their features and qualities as wondrous rather than monstrous. Sharks as Predatory Monsters A number of books for general readers do, however, image sharks as monsters. In 1911, in his travel narrative Peeps at Many Lands: Australia, Frank Fox describes sharks as “the most dangerous foes of man in Australia” (23) and many books have reinforced this view over the following century. This can be seen in titles that refer to sharks as dangerous predatory killers (Fox and Ruhen; Goadby; Reid; Riley; Sharpe; Taylor and Taylor). The covers of a large proportion of such books feature sharks emerging from the water, jaws wide open in explicit homage to the imaging of the monster shark in the film Jaws (Spielberg). Shark!: Killer Tales from the Dangerous Depths (Reid) is characteristic of books that portray encounters with sharks as terrifying and dramatic, using emotive language and stories that describe sharks as “the world’s most feared sea creature” (47) because they are such “highly efficient killing machines” (iv, see also 127, 129). This representation of sharks is also common in several books for younger readers (Moriarty; Rohr). Although the risk of being injured by an unprovoked shark is extremely low (Chapman; Fletcher et al.), fear of sharks is prevalent and real (Le Busque et al., “People’s Fear”) and described in a number of these texts. Several of the memoirs located describe surfers’ fear of sharks (Muirhead; Orgias), as do those of swimmers, divers, and other frequent users of the sea (Denness; de Gelder; McAloon), even if the author has never encountered a shark in the wild. In these texts, this fear of sharks is often traced to viewing Jaws, and especially to how the film’s huge, bloodthirsty great white shark persistently and determinedly attacks its human hunters. Pioneer Australian shark expert Valerie Taylor describes such great white sharks as “very big, powerful … and amazingly beautiful” but accurately notes that “revenge is not part of their thought process” (Kindle version). Two books explicitly seek to map and explain Australians’ fear of sharks. In Sharks: A History of Fear in Australia, Callum Denness charts this fear across time, beginning with his own “shark story”: a panicked, terror-filled evacuation from the sea, following the sighting of a shadow which turned out not to be a shark. Blake Chapman’s Shark Attacks: Myths, Misunderstandings and Human Fears explains commonly held fearful perceptions of sharks. Acknowledging that sharks are a “highly emotive topic”, the author of this text does not deny “the terror [that] they invoke in our psyche” but makes a case that this is “only a minor characteristic of what makes them such intriguing animals” (ix). In Death by Coconut: 50 Things More Dangerous than a Shark and Why You Shouldn’t Be Afraid of the Ocean, Ruby Ashby Orr utilises humour to educate younger readers about the real risk humans face from sharks and, as per the book’s title, why they should not be feared, listing champagne corks and falling coconuts among the many everyday activities more likely to lead to injury and death in Australia than encountering a shark. Taylor goes further in her memoir – not only describing her wonder at swimming with these creatures, but also her calm acceptance of the possibility of being injured by a shark: "if we are to be bitten, then we are to be bitten … . One must choose a life of adventure, and of mystery and discovery, but with that choice, one must also choose the attendant risks" (2019: Kindle version). Such an attitude is very rare in the books located, with even some of the most positive about these sea creatures still quite sensibly fearful of potentially dangerous encounters with them. Sharks as Prey There is a long history of sharks being fished in Australia (Clark). The killing of sharks for sport is detailed in An American Angler in Australia, which describes popular adventure writer Zane Grey’s visit to Australia and New Zealand in the 1930s to fish ‘big game’. This text includes many bloody accounts of killing sharks, which are justified with explanations about how sharks are dangerous. It is also illustrated with gruesome pictures of dead sharks. Australian fisher Alf Dean’s biography describes him as the “World’s Greatest Shark Hunter” (Thiele), this text similarly illustrated with photographs of some of the gigantic sharks he caught and killed in the second half of the twentieth century. Apart from being killed during pleasure and sport fishing, sharks are also hunted by spearfishers. Valerie Taylor and her late husband, Ron Taylor, are well known in Australia and internationally as shark experts, but they began their careers as spearfishers and shark hunters (Taylor, Ron Taylor’s), with the documentary Shark Hunters gruesomely detailing their killing of many sharks. The couple have produced several books that recount their close encounters with sharks (Taylor; Taylor, Taylor and Goadby; Taylor and Taylor), charting their movement from killers to conservationists as they learned more about the ocean and its inhabitants. Now a passionate campaigner against the past butchery she participated in, Taylor’s memoir describes her shift to a more respectful relationship with sharks, driven by her desire to understand and protect them. In Australia, the culling of sharks is supposedly carried out to ensure human safety in the ocean, although this practice has long been questioned. In 1983, for instance, Whitley noted the “indiscriminate” killing of grey nurse sharks, despite this species largely being very docile and of little threat to people (Australian Sharks, 10). This is repeated by Tony Ayling twenty-five years later who adds the information that the generally harmless grey nurse sharks have been killed to the point of extinction, as it was wrongly believed they preyed on surfers and swimmers. Shark researcher and conservationist Riley Elliott, author of Shark Man: One Kiwi Man’s Mission to Save Our Most Feared and Misunderstood Predator (2014), includes an extremely critical chapter on Western Australian shark ‘management’ through culling, summing up the problems associated with this approach: it seems to me that this cull involved no science or logic, just waste and politics. It’s sickening that the people behind this cull were the Fisheries department, which prior to this was the very department responsible for setting up the world’s best acoustic tagging system for sharks. (Kindle version, Chapter 7) Describing sharks as “misunderstood creatures”, Orr is also clear in her opposition to killing sharks to ‘protect’ swimmers noting that “each year only around 10 people are killed in shark attacks worldwide, while around 73 million sharks are killed by humans”. She adds the question and answer, “sounds unfair? Of course it is, but when an attack is all over the news and the people are baying for shark blood, it’s easy to lose perspective. But culling them? Seriously?” (back cover). The condemnation of culling is also evident in David Brooks’s recent essay on the topic in his collection of essays about animal welfare, conservation and the relationship between humans and other species, Animal Dreams. This disapproval is also evident in narratives by those who have been injured by sharks. Navy diver Paul de Gelder and surfer Glen Orgias were both bitten by sharks in Sydney in 2009 and both their memoirs detail their fear of sharks and the pain they suffered from these interactions and their lengthy recoveries. However, despite their undoubted suffering – both men lost limbs due to these encounters – they also attest to their ongoing respect for these creatures and specify a shared desire not to see them culled. Orgias, instead, charts the life story of the shark who bit him alongside his own story in his memoir, musing at the end of the book, not about himself or his injury, but about the fate of the shark he had encountered: great whites are portrayed … as pathological creatures, and as malevolent. That’s rubbish … they are graceful, mighty beasts. I respect them, and fear them … [but] the thought of them fighting, dying, in a net upsets me. I hope this great white shark doesn’t end up like that. (271–271) Several of the more recent books identified in this study acknowledge that, despite growing understanding of sharks, the popular press and many policy makers continue to advocate for shark culls, these calls especially vocal after a shark-related human death or injury (Peppin-Neff). The damage to shark species involved caused by their killing – either directly by fishing, spearing, finning, or otherwise hunting them, or inadvertently as they become caught in nets or affected by human pollution of the ocean – is discussed in many of the more recent books identified in this study. Sharks as Endangered Alongside fishing, finning, and hunting, human actions and their effects such as beach netting, pollution and habitat change are killing many sharks, to the point where many shark species are threatened. Several recent books follow Orr in noting that an estimated 100 million sharks are now killed annually across the globe and that this, as well as changes to their habitats, are driving many shark species to the status of vulnerable, threatened or towards extinction (Dulvy et al.). This is detailed in texts about biodiversity and climate change in Australia (Steffen et al.) as well as in many of the zoologically focussed books discussed above under the theme of “Sharks as part of the natural environment”. The CSIRO’s Field Guide to Australian Sharks & Rays (Daley et al.), for example, emphasises not only that several shark species are under threat (and protected) (8–9) but also that sharks are, as individuals, themselves very fragile creatures. Their skeletons are made from flexible, soft cartilage rather than bone, meaning that although they are “often thought of as being incredibly tough; in reality, they need to be handled carefully to maximise their chance of survival following capture” (9). Material on this theme is included in books for younger readers on Australia’s endangered animals (Bourke; Roc and Hawke). Shark Conservation By 1991, shark conservation in Australia and overseas was a topic of serious discussion in Sydney, with an international workshop on the subject held at Taronga Zoo and the proceedings published (Pepperell et al.). Since then, the movement to protect sharks has grown, with marine scientists, high-profile figures and other writers promoting shark conservation, especially through attempts to educate the general public about sharks. De Gelder’s memoir, for instance, describes how he now champions sharks, promoting shark conservation in his work as a public speaker. Peter Benchley, who (with Carl Gottlieb) recast his novel Jaws for the film’s screenplay, later attested to regretting his portrayal of sharks as aggressive and became a prominent spokesperson for shark conservation. In explaining his change of heart, he stated that when he wrote the novel, he was reflecting the general belief that sharks would both seek out human prey and attack boats, but he later discovered this to be untrue (Benchley, “Without Malice”). Many recent books about sharks for younger readers convey a conservation message, underscoring how, instead of fearing or killing sharks, or doing nothing, humans need to actively assist these vulnerable creatures to survive. In the children’s book series featuring Bindi Irwin and her “wildlife adventures”, there is a volume where Bindi and a friend are on a diving holiday when they find a dead shark whose fin has been removed. The book not only describes how shark finning is illegal, but also how Bindi and friend are “determined to bring the culprits to justice” (Browne). This narrative, like the other books in this series, has a dual focus; highlighting the beauty of wildlife and its value, but also how the creatures described need protection and assistance. Concluding Discussion This study was prompted by the understanding that the Earth is currently in the epoch known as the Anthropocene, a time in which humans have significantly altered, and continue to alter, the Earth by our activities (Myers), resulting in numerous species becoming threatened, endangered, or extinct. It acknowledges the pressing need for not only natural science research on these actions and their effects, but also for such scientists to publish their findings in more accessible ways (see, Paulin and Green). It specifically responds to demands for scholarship outside the relevant areas of science and conservation to encourage widespread thinking and action (Mascia et al.; Bennett et al.). As understanding public perceptions and overcoming widely held fear of sharks can facilitate their conservation (Panoch and Pearson), the way sharks are imaged is integral to their survival. The five themes identified in this study reveal vastly different ways of viewing and writing about sharks. These range from seeing sharks as nothing more than large fishes to be killed for pleasure, to viewing them as terrifying monsters, to finally understanding that they are amazing creatures who play an important role in the world’s environment and are in urgent need of conservation. This range of representation is important, for if sharks are understood as demon monsters which hunt humans, then it is much more ‘reasonable’ to not care about their future than if they are understood to be fascinating and fragile creatures suffering from their interactions with humans and our effect on the environment. Further research could conduct a textual analysis of these books. In this context, it is interesting to note that, although in 1949 C. Bede Maxwell suggested describing human deaths and injuries from sharks as “accidents” (182) and in 2013 Christopher Neff and Robert Hueter proposed using “sightings, encounters, bites, and the rare cases of fatal bites” (70) to accurately represent “the true risk posed by sharks” to humans (70), the majority of the books in this study, like mass media reports, continue to use the ubiquitous and more dramatic terminology of “shark attack”. The books identified in this analysis could also be compared with international texts to reveal and investigate global similarities and differences. While the focus of this discussion has been on non-fiction texts, a companion analysis of representation of sharks in Australian fiction, poetry, films, and other narratives could also be undertaken, in the hope that such investigations contribute to more nuanced understandings of these majestic sea creatures. 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El cine siempre me hipnotiza. Desde pequeña tuve una enorme facilidad para entregarme a la convención y dejarme llevar por aquello que veo en la pantalla, sin mayores pretensiones. Tal vez es un hábito heredado de mi abuela, a quien le encantaban las películas del cine de oro mexicano, o heredado de mis padres, que eran asiduos al cine de desastre de los setenta y al cine de terror. En realidad, es difícil saber. Lo único seguro es que lo disfruto mucho. Mi gusto por el terror y la ciencia ficción empezó temprano. Cuando nació mi hermana menor, mi mamá me regaló un televisor de 9 pulgadas, pequeñísimo, en el que podía ver la programación hasta muy tarde. Siempre sintonizaba Última función del canal 2. Obviamente, no tenía permitido ver televisión hasta tarde, pero ¿Quién se iba a dar cuenta?. En teoría, yo estaba “bien dormida”. Mi mamá me acostaba a las 8 de la noche. Aquella Última función empezaba a la medianoche. La matemática en este caso es bastante simple.
Tesis

Abstract This chapter examines Ellen Ripley’s adaption into video games and traces the evolution of Ripley’s representation in this medium, since the character’s first video game appearance in 1984, by comparing Alien Resurrection (1997) in its respective film and video game (2000) form. After comparatively analysing the film and game, the study explores how gaming tropes are continuing to problematically structure the representation of Ellen Ripley or female avatars within the Alien game franchise and where there has been resistance to these tendencies. This research demonstrates that adopting feminist-psychoanalytic film analysis for video games highlights where patriarchal systems effect the representation and processes of spectatorial identification with Ellen Ripley. Overall, the study concludes that the video game remediation of Alien Resurrection (1997) marginalizes the avatar body of Ripley through the substitution of a previously established male first-person shooter perspective, eroding the possibility of spectatorial identification with Ripley’s cinematic character and her objectives. Furthermore, that the gaming industry’s desire to predict its financial gains by catering to a consumer contributes to the entrenchment of tropes that force players’ subject identification through a video-game-specific male gaze and weaponized action. While this problematic form of representation continues in various Alien franchise games, such as Alien vs. Predator (2010) and Aliens: Colonial Marines (2013), Alien: Isolation (2014) provides an interesting alternative to female representation in the Alien video game universe.

In a political sense, what happens to our understanding of the political if we no longer need it? Ridley Scott’s sci-fi classic Alien (1979) has often been read through feminist and psychoanalytic approaches, but such approaches essentially draw attention away from the literalness of the film’s political dimension, which comes close to the problem Carl Schmitt used to explain his concept of the state of exception. During the state of exception, the sovereign may legally suspend the social contract or the constitution in order to protect, defend, and preserve them. However, in the absence of danger, the state becomes increasingly depoliticized and irrelevant. Thus, the state must establish a relation to the anomaly (the enemy, Behemoth, or the state of nature) in order to reassert itself. Alien tells the story of Ripley, a loyal citizen fighting against power’s sinister attempt to restore fear and terror. She simultaneously comes to personify both the absolute unlimited sovereign and the alien; Ripley is both the outlawed, banned life and the hero of the state, both friend and enemy at one and the same time. Read against Schmitt’s thoughts, the film traces and explores the tensions between sovereignty and citizens in a post-political age.

Abstract In his 1979 review, Vincent Canby calls Alien a “Gothic set in space”: in this chapter I will reflect upon the implications of describing the film as “Gothic,” arguing that the franchise engages with the traditions of the Female Gothic, specifically. The Female Gothic is typically defined by stories in which a central female protagonist is imperiled within isolated locations, usually because of a villainous male figure and/or patriarchal structures more broadly. Alien evokes this narrative patterning as the film comes to center on Ripley as the heroine, resisting the sexualized threat of the xenomorph in conjunction with the exploitative nature of the Company. These Female Gothic tropes continue to appear within the film’s larger franchise, following Ripley’s appearances in Aliens (1986), Alien3 (1992), and Alien Resurrection (1997). Indeed, when analyzing the franchise through the lens of the Female Gothic, it is fascinating to see how these four films—produced within varying historical contexts, with different filmmakers and diverse narrative set-ups—can be brought into a new dialogue, with the Female Gothic functioning as intertextual and transmedial structuring element. Revisiting the Alien franchise via the Female Gothic provides another way of considering these films together, illuminating both the continued cultural currency of the Female Gothic tradition, and Ripley as a screen icon.

Scott became enthused about continuing the Alien films and began planning several. For his next feature film project, he decided on the film that became Alien: Covenant, returning to presenting the name of the series in the title. The story follows a group of colonists looking to create a world better than the one they had on earth. When they reach their new home, the Alien makes its presence known and begins killing off crew members one by one, just as in the original film. Also as in the inaugural movie, there is a strong female character who takes charge and again is responsible for destroying the Alien. Scaring the audience is still a priority, which led to the film’s big success at the box office.

After many years had gone by since he directed Alien, and sequels had been released by other film directors, Ridley Scott decided he would finally revisit the original movie in the franchise. Prometheus is the only sequel to Alien not to use that word in the title. The film is a departure from the series in that it is less a horror film and more a philosophical venture into the beginnings of humankind and the meaning of life. Prometheus was a huge box office success despite the fact that the narrative is very convoluted and not all the many questions the film poses are answered. Nonetheless, the realistic and believable production qualities of Prometheus as well as the fine ensemble cast were ingredients for success.