Abstract The main content of my master degree work is the concept design for film based on unpublished screenplay by David Lynch. The master degree work consists of practical and theoretical part. The theoretical part, called Visual World of David Lynch's Films, points out the influence of cultural environment, inspirations and art on visual style of his films. It finds out elementary symbols from his cultural enviroment and demostrates the way, how David Lynch use these motifs in his films. In the film analyzes, there have been found some more visual elements, which became part of David Lynch's visual style. The practical part presents my own concept design for film based on the screenplay "RONNIE ROCKET OR The Absurd Mystery of the Strange Forces of Existence" by David Lynch. The practical part includes Screenplay synopsis, graphic part, breakdown nad visual reference.

L'oralité a une existence visuelle et sonore récurrente chez David Lynch. Fil conducteur de la relation entre le son et l'image, elle constitue probablement le point nodal de la plastique cinématographique de cet artiste américain, au point qu'il en fait un trait identitaire, un thème obsédant de sa création cinématographique. Issu du latin ōs, ōris, le terme d'oralité permet d'aborder tout ce qui est lié à la bouche, point de contact entre l'intérieur corporel et l'environnement extérieur. L'oralité tient à une mécanique anatomique humaine mais ne se limite pas à la production sonore — elle ne concerne pas que les organes de la parole et l'aspect fonctionnel de la communication. Elle est aussi motif visuel, représentée par son autre lieu stratégique : le visage (terme également issu du latin ōs, ōris). Il y aurait donc une oralité visuelle/visible et une oralité sonore/audible. Ce travail d'exploration de l'oralité chez David Lynch prend la forme d'un parcours anatomique et organique qui mène de la bouche à l'oreille ; de la représentation visuelle et de l'émission sonore jusqu’à sa perception/réception. Et ce qui importe en définitive c'est d'observer de quelle manière l'oralité se manifeste et envisage un ensemble créatif qui opère une rencontre entre les arts du spectacle, les arts visuels et le matériau sonore. / Orality has a sound and visual recurrent existence in the work of David Lynch. It is the main thread in the relation between the sound and the image and probably constitutes the nodal point in the cinematic aesthetic of this American artist; so much so that he makes it an identity trait, an obsessive theme of his cinematographic creation. Coming from the Latin os, oris, the term orality allows to treat everything related to the mouth, the point of contact between the interior of the body and the external environment. Orality pertains to a human anatomical mechanism, but it is not limited to sound production - it is not only concerned with speech and the functional aspect of communication. It is also a visual motif represented by its other strategic location: the face (a term also derived from Latin os, oris). There is thus a visual/visible orality and a sound/audible orality. The exploration into orality in David Lynch's work takes the form of an anatomical and an organic journey leading from the mouth to the ear; from visual representation and sound matter to its perception/reception. What is important in the final count is to observe how orality manifests itself and envisages a creative whole which produces an encounter between the performance arts, the visual arts, and the sound material.

A presente tese se ocupa de uma vertente da literatura e do cinema contemporâneos, especialmente do escritor Julio Cortázar e do cineasta David Lynch, que: busca um novo tratamento para a realidade, não esconde os artifícios discursivos das obras, joga com estratégias ilusionistas e antiilusionistas, debate a própria ficção por meio de recursos metaficcionais, que se utiliza da metáfora do teatro como espaço diferenciado e como palco de ilusões e que trabalha com a questão do fantástico (ou absurdo). Grande parte do trabalho é dedicada ao estudo da obra do escritor argentino Julio Cortázar. Estudo esse que se constrói a partir das correspondências entre as produções ficcionais e teóricas de Cortázar, além de suas próprias entrevistas. Cortázar é nosso foco principal e dele, acreditamos, brotou um veio dos mais significativos na narrativa contemporânea, que estabelece novos modos de se lidar com a representação e com as referências. É devido a esses aspectos, apontados anteriormente, que estabelecemos relações com outros autores, inclusive do cinema, como é o caso de David Lynch / This thesis deals with one aspect of literature and contemporary cinema, especially the writer Julio Cortázar and filmmaker David Lynch, that: a search for new treatment really does not hide the artifice of the discursive works, plays with illusionist and anti-illusionist strategies, debate the fiction itself through metaficcionais resources, which uses the metaphor of the theater as a space variable and to stage illusions and working with the issue of the fantastic (or nonsense). Much of the work is devoted to the study of the work of Argentine writer Julio Cortázar. Study which is constructed from the correspondence between the fictional and theoretical productions of Cortázar, and his own interviews. Cortázar is our main focus and goals, we came a shaft of the most significant in contemporary novels, establishing new ways of dealing with the representation and referrals. It is because of these issues, previously mentioned, we have established relationships with other authors, including the cinema, as is the case of David Lynch

El síndrome de Lynch (SL) se caracteriza por presentar heterogeneidad genética, pleiotropismo y penetrancia incompleta y variable, sugiriendo la posibilidad de un riesgo poligénico y posiblemente, la implicación de otros genes de cáncer hereditario en familias con fenotipos complejos. La co-ocurrencia de diferentes variantes patogénicas en diferentes genes de predisposición hereditaria a cáncer en un individuo, lo que se conoce con las siglas MINAS, está probablemente infradiagnosticada. La identificación de segundas alteraciones genéticas en línea germinal en genes de cáncer hereditario tiene un importante impacto para el paciente y sus familiares. En esta tesis se realizó un estudio retrospectivo en una cohorte de casos índice de SL para intentar dimensionar esta situación a priori rara o muy rara. Los resultados obtenidos muestran que la prevalencia de más de un alelo patogénico que predispone a cáncer en pacientes con síndrome de Lynch es relevante, entorno al 6% y que la presencia de más de un alelo patogénico en genes de predisposición a cáncer no suele asociarse a las manifestaciones clínicas esperadas de ambos genotipos, en el momento del diagnóstico. Sin embargo, son necesarios más estudios para confirmar estos hallazgos. Por otro lado, la poliposis asociada a la actividad correctora de las polimerasas (PPAP) es otro síndrome de cáncer hereditario. Para este síndrome, existen pocas variantes patogénicas descritas y el fenotipo clínico asociado se basa en un número limitado, pero creciente, de familias descritas. La caracterización molecular exhaustiva y un análisis detallado del fenotipo clínico asociado a variantes patogénicas recurrentes en los genes responsables, podría ayudar a a mejora de la evaluación del riesgo de cáncer en estas familias; permitiendo así mismo ofrecer un seguimiento más personalizado y eficiente. Por ello, realizamos un estudio para intentar establecer el carácter fundador, el fenotipo clínico asociado y la penetrancia de la variante patogénica, no descrita previamente (POLD1:c.1421T>C; p.Leu474) e identificada dentro del Programa de Cáncer Hereditario de la Comunidad Valenciana en cuatro familias aparentemente no relacionadas. Los resultados obtenidos establecieron el carácter fundador de la variante de interés, con un haplotipo común de unas 3Mb, siendo la primera variante patogénica con carácter fundador identificada en el gen POLD1 y además el fenotipo clínico de la variante coincide a priori con el del SL.

Background: Lynch syndrome is a hereditary disorder, with a very high risk of the developing colorectal cancer (CRC) and a predilection to develop other cancers, including upper tract urothelial carcinoma (UTUC) that has an estimated lifetime risk of 0.2-25%, above that of the general population. Our aim was to assess the prevalence of UTUC in a Lynch syndrome cohort undergoing screening for CRC, to determine the need for a UTUC screening program. Methodology: Lynch syndrome patients were screened with urine dipstix for microscopic haematuria. Patients with confirmed microhaematuria were offered urine cytology, microscopy and culture, ultrasound (US) of their upper tracts and flexible cystoscopy. Results: Of the 89 patients screened, 86 had an MLH1 mutation and 2 had an MSH2 mutation. Eleven of the 12 patients who had microscopic haematuria were female. 10 patients had urinary tract infections. One patient had follicular cystitis and another had a simple renal cyst. No patients had hydronephrosis on ultrasound. All urine cytology specimens were negative for malignancy. Conclusion: No cases of UTUC were detected in our cohort during this study. A more rational screening protocol in this group may be to screen patients for UTUC with known MSH2 mutations at an earlier age (over 35).

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the degree of Master of Arts in Dramatic Art. Johannesburg 1992. / It is the intention of this thesis to provide a reasoned analysis of the films of David Lynch, in order to locate Lynch as a Postmodern filmmaker. Although other filmmakers have been seen to include elements of Postmodernism in their work (Tim Burton is an example), few directors have attained Lynch's recent prominence or popularity. His recent television series, Twin Peaks, has created an even larger audience for his filmic style, and the guest directors employed were obviously encouraged to employ a similar technique, in order to create a coherent filmic philosophy. [Abbreviated Abstract. Open document to view full version] / MT2017

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In our study, we evaluated the effectiveness of upper gastrointestinal (GI) endoscopy as an instrument for early gastric cancer (GC) detection in Lynch syndrome (LS) patients by analyzing data from the registry of the German Consortium for Familial Intestinal Cancer. In a prospective, multicenter cohort study, 1128 out of 2009 registered individuals with confirmed LS underwent 5176 upper GI endoscopies. Compliance was good since 77.6% of upper GI endoscopies were completed within the recommended interval of 1 to 3 years. Forty-nine GC events were observed in 47 patients. MLH1 (n = 21) and MSH2 (n = 24) mutations were the most prevalent. GCs in patients undergoing regular surveillance were diagnosed significantly more often in an early-stage disease (UICC I) than GCs detected through symptoms (83% vs 25%; P = .0231). Thirty-two (68%) patients had a negative family history of GC. The median age at diagnosis was 51 years (range 28-66). Of all GC patients, 13 were diagnosed at an age younger than 45. Our study supports the recommendation of regular upper GI endoscopy surveillance for LS patients beginning no later than at the age of 30. What's new? Risk of gastric cancer (GC) is significantly increased among patients with Lynch syndrome (LS). GC screening in LS patients, however, is fraught with uncertainty, particularly regarding the use of esophagogastroduodenoscopy (EGD). The authors of this study investigated the use of EGD for regular GC surveillance in a German cohort of LS patients. Regular surveillance by EGD resulted in more frequent diagnosis and significant down-staging of GC, relative to detection via symptoms alone. In most cases, family history of GC was negative. This study supports recommendations for regular gastroscopic surveillance in LS patients starting by age 30.