Big Film Research Articles

ビスマス鉄ガーネット薄膜の組成比と磁気光学特性

Nonthermodynamical Bi3Fe5O12 films were synthesized by the reactive ion beam sputtering technique, and the relation of the compositions of the starting materials 3(1+x)×Bi2O3 + 5 ×Fe2O3 powder, targets, and sputtered films was investigated. The compositions of the target and the film were different from that of the starting materials, which can be understood by taking the high volatility and high sputtering yield of Bi into consideration. By using a starting material with x = 0.15, BIG film with the composition Bi:Fe:O = 3.0:5.0:12.0 was successfully obtained. However, a film with x = 0.1 showed the largest θF value. From the point of view of the magneto-optical properties, the optimized compositions of the film may deviate form the stoichiometric compositions.

Bi/sub 3/Fe/sub 5/O/sub 12/ thin film visualizer

Micrometer thick Bi/sub 3/Fe/sub 5/O/sub 12/ (BIG)[001] films were grown onto Gd/sub 3/(ScGa)/sub 5/O/sub 12/[001] single crystals by the pulsed laser deposition technique. The films are of epitaxial quality with a lattice constant of 1.263 nm. Narrow x-ray rocking curves (full width at half maximum: 0.06 deg) and narrow ferromagnetic resonance lines (widths of 25 Oe) indicate good crystalline quality and magnetic performance. The films possess in-plane magnetization, Faraday rotation as high as -7.8 deg//spl mu/m at 630 nm wavelength, and the magnetization M-H curves are linear in the field range from -1.6 kOe to +1.6 kOe. The magneto-optical (MO) properties are almost temperature independent between 5 K and 200 K. This enables the use of thin BIG films as visualizers of magnetic fluxes in high-T/sub c/ superconductors. Magnetic fluxes have been visualized in YBa/sub 2/Cu/sub 3/O/sub 7-x/ (YBCO) ceramics with an artificial grain boundary. The sensitivity expressed as Faraday rotation angle (per film thickness) per magnetic field unit was found to be 4.9 deg/(kOe./spl mu/m) in a 730 nm thick BIG film.

Ferromagnetic Resonance in Single Crystal Bismuth Iron Garnet Films

AbstractAmong other magneto-optic materials bismuth substituted yttrium iron garnet (BixY1−x)3 Fe5O12 has the highest Faraday rotation effect in visible region. Completely substituted bismuth iron garnet Bi3Fe5O12 (BIG) films have been grown by pulsed laser deposition technique onto (111) (NdGd)3(ScGa)5O12 single crystal with lattice constant of 12.623 Å. X-ray diffraction proves epitaxial film quality. VSM measurements yield the saturation magnetization 4πMs, = 1100 G and coercive field is about 50 Oe. Ferromagnetic resonance (FMR) method reveals perpendicular magnetic anisotropy in fabricated films. Angular measurements of FMR give the constants of uniaxial and cubic anisotropy in BIG film: Ku = 5.9×104 erg/cm3 and K1= - 6.95×103 erg/cm3. The Faraday rotation has been found to reach - 7.8 deg/µm at 630 nm.

The Search for a New Russia in an "Era of Few Films"

One of great ironies of glasnost is that powerful cinema industry and its Filmmakers Union, which were among first official Soviet organizations to hail glasnost and to begin process of perestroika, have also become some of its greatest casualties. Production of feature which averaged 150-180 throughout 1970s and early 1980s for whole of Soviet Union, at first dramatically increased to over three hundred for 1990 (thanks to laundering of all kinds of new, often ill-gotten private funds), but then began a precipitous decline which affected both quality and quantity of entered in festivals-currently main and only venue for large-scale screening of films. (The dismantling of gargantuan Soviet film distribution network and closing of many movie theaters is a separate and fascinating story of its own.) The growing number of yearly festivals is led by Kinotavr (named for private company which organizes it), now in its seventh year as Open [Rossiiskii!] Film and in its third year also as Film in Sochi. (The latter brings from all over world and not just from former Soviet Union to Sochi.) This Russian Cannes, as its ebullient founder, Mark Rudinshtein, likes to call it, now rivals biannual and still mostly government-sponsored Moscow International Film Festival as the place to see current film production from CIS. By comparing most recent, 1995 and 1996 festivals in Sochi, it becomes clear that we have entered a new era of few films (malokartin'e), a term used to refer to last years of Stalin's reign when production for whole of Soviet Union fell into teens for feature films. Now malokartin'e can be used in a double sense. First, while there were almost a hundred full-length feature (khudozhestvennye fil'my) made in 1994 from which a real selection could be made for 1995 festival, fewer than forty were completed from June 1995 to June 1996, so almost all of them became festival entries in addition to some left-over from 1994. Secondly, with a couple of notable exceptions (Kavkazskii plennik [The Prisoner of Caucasus], Vozvrashchenie bronenostsa [The Return of Battleship]) this year's are more modest in scope, clearly made on smaller budgets. Thus episodic or anecdotal narrative structure (which will be discussed later in Ludmila Pruner's contribution), and shorter may not only be a matter of artistic choice but of economic necessity as well. Last year there were heated discussion in festival halls about several interesting and mostly big film productions by highly noted directors-Vladimir Kho-

Study of BixY 3-xFe 5O12 Thin Films Grown by Pulsed Laser Deposition

Epitaxial films of Bi\\sitxY3-\\sitxFe5O12 (Bi:YIG) have been grown on [111]-oriented gadolinium-gallium-garnet substrates, Gd3Ga5O12 (GGG), by pulsed laser deposition (PLD). Complete epitaxial substitution of the bismuth, Bi3Fe5O12 (BIG), was achieved at a growth temperature of 500 °C and an O2 atmosphere of 200 mTorr. The epitaxial nature of the films was indicated by the diffraction patterns from reflection high-energy electron diffraction (RHEED). X-ray diffraction (XRD) also showed that there were no peaks other than multiples of the (444) reflection. The Faraday rotation angle, θ F, of these films increases linearly with the Bi content x yielding θ F/x = -1.9 deg/µm at λ= 633 nm and T = 300 K. From magnetooptical Kerr measurements (MOKE) we conclude that the uniaxial anisotropy constant, K u, of the BIG film is positive, which could be due to the expansive stress caused by the difference in thermal expansion of the film and the substrate.

Synthesis of Al- or Ga-Substituted Bi3Fe5O12 Garnet Films

Using an alternating ion-beam-sputtering technique, Al3+ and Ga3+ ions were successfully substituted for Fe3+ ions in Bi 3 Fe 5 O 12 (BIG) film. The effects of substitution were confirmed by measurements of the lattice constant, ferromagnetic resonance field and magnetic moment. The lattice constant and saturation magnetization of BIG film can be adjusted by Al or Ga substitution, which is analogous to Al- or Ga-substituted YIG. The magnetic anisotropy of a BIG film can be changed from the easy-plane type to the perpendicular uniaxial type by Al or Ga substitution. The uniaxial anisotropy is mainly attributed to the stress-induced anisotropy.

Ａｌ，Ｇａ置換Ｂｉ３Ｆｅ５Ｏ１２ガーネット薄膜の合成

By means of the alternating ion-beam-sputtering method, Al3+ or Ga3+ ions were successfully substituted for Fe3+ ions in a Bi3Fe5O12 (BIG) film. The effects due to substitution were confirmed by measurements of the lattice constant, ferromagnetic resonance field, and magnetic moment. The lattice constant and saturation magnetization of BIG can be adjusted by Al- or Ga-substitution, which is analogous to Al- or Ga-substituted YIG. The magnetic anisotropy of a BIG film can be changed from the easy-plane type to the perpendicular uniaxial type by Al- or Ga-substitution. This uniaxial anisotropy is mainly attributed to the stress-induced anisotropy.

The Cabinet of Lucy Ricardo: Lucille Ball's Star Image

While most film stars either resisted collaborating with television in the 1940s and 1950s, or were prohibited from appearing on TV by their studio contracts (aside from occasional guest spots), many radio, vaudeville, and nightclub personalities were ready to exploit the medium, as were a number of non-star film performers who possessed identifiable images. Almost every radio and vaudeville personality involved in early television had also made film appearances in the 1930s and 1940s, but, at best, they remained co-stars (Jack Benny, George Burns, Gracie Allen), supporting actors (Milton Berle, Eve Arden, Jackie Gleason), or non-narrative specialty performers (Paul Whiteman), just like their non-star film colleagues (Martha Raye, Ann Southern, Stuart Erwin, Audrey Meadows). One thing television seemed to offer all these performers was a second chance to become mass audience, audiovisual stars-a combination only film could provide before this time. Most of the early television performers achieved stardom conservatively by reproducing their radio, vaudeville, and film personalities in the new medium: Eve Arden's dry-witted radio Connie Brooks (already Mildred Pierce's Ida in a classroom) became television's Our Brooks; Ann Southern's Susie (Private Secretary) was one more in a long line of shrewd Trade Winds Girl Fridays; Martha Raye's aggressive, roughhousing big mouth film image was transferred intact to The Martha Raye Show; while Gracie Allen's zany Miss Allen character moved from vaudeville to film to radio to television with little alteration. However, a few performers from vaudeville, radio, and film found it more difficult to take this straightforward, conservative route to televisual stardom, as their previous success depended on multiple characters or images. Jackie Gleason solved the problem by displaying his comedy and musical talents in a variety show format, adding and subtracting characters from show to show (Ralph Kramden of The Honeymooners was developed in this manner). For Lucille Ball the task was more formidable, as she brought to television a film image that combined glamour, earthiness, musical ability, wit, and slapstick talents, as well as a popular radio role as a screwball wife (Liz Cooper, My Favorite Husband, CBS, 1948-51). But while Ricardo of I Love Lucy

Automatization of the measurements of big bubble chamber pictures in the spiral reader system

The organization of the on-line mode for big bubble chamber film measurements and treatment in the Spiral Reader system is described. The hardware development and the corresponding software creation to realize this mode are reflected. The means to automatize some treatment stages in the Spiral Reader system are outlined. The main characteristics of the on-line measuring mode obtained as a result of handling a number of rolls from the “Mirabelle” chamber are presented.