Recent developments on the magnetic and electrical transport properties of FeRh- and Rh-based heterostructures

It is fascinating how the binary alloy FeRh has been the subject of a vast number of studies almost solely for a single-phase transition. This is, however, reasonable, considering how various degrees of freedom are intertwined around this phase transition. Furthermore, the tunability of this phase transition—the large response to tuning parameters, such as electric field and strain—endows FeRh huge potential in applications. Compared to the bulk counterpart, FeRh in the thin-film form is superior in many aspects: Materials in thin-film form are often more technologically relevant in the first place; in addition, the substrates add extra dimensions to the tunability, especially when the substrate itself is multiferroic. Here we review recent developments on the magnetic and transport properties of heterostructures based on FeRh and its end-member Rh, with the latter providing a new route to exploiting spin-orbit interactions in functional spintronic heterostructures other than the more often employed 5d metals. The methods utilized in the investigation of the physical properties in these systems, and the design principles employed in the engineering thereof may conceivably be extended to similar phase transitions to other magnetic materials.

Introduction

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

Cadmium Sulfide (CdS) Thin Films with Improved Morphology for Humidity Sensing by Chemical Bath Deposition at Lower pH

Cadmium sulfide (CdS), an II–VI group semiconductor material, is one of the most investigated semiconductors in thin film form. In this work, we synthesized CdS thin films with improved film morphology in the presence of ethylene diamine (EA) as the complexing agent by chemical bath deposition (CD) at lower pH. Detailed characterization reveals the presence of cubic phase CdS with a band gap of 2.39 eV with the resultant morphology significantly influenced by the composition of the growth solution. The resultant CdS films finds prospective application as a humidity sensor with a high sensor response of 2.61 corresponding to 80% relative humidity.

The Category of System in David Bordwell’s Concept of Film Aesthetics

The aim of this paper is to analyse the role played by the category of system in the early books of David Bordwell. They have exerted an enormous influence on the understanding of film aesthetics, but little space has been devoted to their methodological background, including the category of system. In Film Art: An Introduction (1979), all elements of film form have a systemic character, which is visible in the chapter titles, such as “Form as System” or “Narration as a Formal System”. In The Classical Hollywood Cinema, the film aesthetics is based on systems of narrative logic, time and space. In Narration in the Fiction Film, the systems of syuzhet and style are foregrounded. Bordwell’s fascination with systems is rooted undoubtedly in their popularity in the 1970s. But do Bordwellian notions really fulfil the criteria of system theory, especially in its newer version, with such notions as chaos, feedback loop, self-regulation and others? Perhaps even Bordwell himself is not certain of that, since the word “system” disappears from recent editions of Film Art: An Introduction.

Introduction

This chapter prepares the comparative media crucible – an intensive synthesis of approaches to understand the media, in relation to capital, infrastructure, film form, narration, sovereign voice and geography. The book takes shape inside this analytical dwelling at the intersection of various grids – the recruitment of the province, capital and narrative voice, and the ideological containment of the masses – preparing the grounds for reading the coalitional tendencies before reassembling the role of media within the social order. It also assesses the provincial imperative acting upon ‘Bollywood’, and the attendant translations and purifications of the processes investigated in the book. The book thus grapples with a constellation which, this chapter argues, addresses an overflow of tendencies tethered to an unknowable ‘mass audience’. This search for an abstract mass, which breaches the embankments of region, class, language and culture, forces us to prepare the crucible with robust comparative analytics.

Growth and Characterisation of Antiferromagnetic Ni2MnAl Heusler Alloy Films

Recent rapid advancement in antiferromagnetic spintronics paves a new path for efficient computing with THz operation. To date, major studies have been performed with conventional metallic, e.g., Ir-Mn and Pt-Mn, and semiconducting, e.g., CuMnAs, antiferromagnets, which may suffer from their elemental criticality and high resistivity. In order to resolve these obstacles, new antiferromagnetic films are under intense development for device operation above room temperature. Here, we report the structural and magnetic properties of an antiferromagnetic Ni2MnAl Heusler alloy with and without Fe and Co doping in thin film form, which has significant potential for device applications.

Conclusion

The conclusion compares eccentric film form to the spaces of a haunted house, considering how the disruption to structures of knowledge offered by both is tamed and diminished by the imposition of a centring character, a ghost in the machine. The subversive potential of art cinema, like that of the haunted house, is constrained by the centring critical manoeuvre of discovering (or constructing) a comprehensible protagonist with backstory and motivation. If, instead, the protagonist is read as just another symptom of a film’s complicated articulation, the effect of the text’s ability to disrupt and disturb habitual patterns of knowledge-making is reinstated. Drawing on Deleuze and Guattari’s theory of the rhizome, the conclusion argues for a criticism that does not seek to settle, but rather to unsettle, meaning.

The Erotics of Cinematic Listening

This chapter explores cinematic listening by bringing together ideas from contemporary musical and sound studies, the concept of erotics in art championed in the 1970s feminist discourse, and ideas of “new materialism” in film studies. It emphasizes the sensuousness of film form as something distinct from sensory overload, and suggests that a sensuous mode of listening is inherently musical. Focusing on films including Arrival (2016), Under the Skin (2013), Elephant (2003), and Tree of Life (2011), the chapter shows that the erotics of cinematic listening is facilitated by the practice of foregrounding the materiality of music and an increasingly integrated approach to the soundtrack.

VIDEO-INSTALAÇÃO, CINEMA DE EXPOSIÇÃO, CINEMA DE ARTISTA, OUTRO CINEMA, EFEITO-CINEMA: NOMENCLATURAS E NORMAS DE REPRESENTAÇÃO. A REFLEXIVIDADE NA OBRA EM PERSPECTIVA (DOCUMENTAL)

ResumoEste texto reflete sobre a categoria cinema de exposição e suas outras acepções. Desenvolve uma crítica sobre esta forma fílmica (inversão da questão espacial sobre a temporal) e apresenta uma reflexão sobre a forma instalativa; um dispositivo em que em diversas instâncias implica na perda de reflexividade fílmica. Apresenta estudos de caso em que as obras fílmicas mesmo que instalativas, permanecem críticas e políticas por um pensamento estratégico. Estratégia esta que tratarei aqui como obra em perspectiva (documental).AbstractThis article reflects upon the category exhibition cinema and its other understandings. Developing a critique over this specific film form (inverting the spatial aspect over the time-based aspect) and presenting a discussion concerning the installative form; a device, which in different instances implies the loss of filmic reflexivity. Presenting case studies in which the filmworks, even as installative pieces, remain politicized and critical through strategic thinking. Strategy which here is presented as work in perspective (documentary).