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1.
  • Borschel, Christian, et al. (författare)
  • A New Route toward Semiconductor Nanospintronics : Highly Mn-Doped GaAs Nanowires Realized by Ion-Implantation under Dynamic Annealing Conditions
  • 2011
  • Ingår i: Nano letters (Print). - Washington : American Chemical Society (ACS). - 1530-6984. ; 11:9, s. 3935-3940
  • Tidskriftsartikel (refereegranskat)abstract
    • We report on highly Mn-doped GaAs nanowires (NWs) of high crystalline quality fabricated by ion beam implantation, a technique that allows doping concentrations beyond the equilibrium solubility limit. We studied two approaches for the preparation of Mn-doped GaAs NWs: First, ion implantation at room temperature with subsequent annealing resulted in polycrystalline NWs and phase segregation of MnAs and GaAs. The second approach was ion implantation at elevated temperatures. In this case, the single-crystallinity of the GaAs NWs was maintained, and crystalline, highly Mn-doped GaAs NWs were obtained. The electrical resistance of such NWs dropped with increasing temperature (activation energy about 70 meV). Corresponding magnetoresistance measurements showed a decrease at low temperatures, indicating paramagnetism. Our findings suggest possibilities for future applications where dense arrays of GaMnAs nanowires may be used as a new kind of magnetic material system.
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4.
  • Brunow, Dagmar, 1966- (författare)
  • Amateur home movies and the archive of migration : Sandhya Suri's I for India (2005)
  • 2010
  • Ingår i: CONFERENCES.
  • Konferensbidrag (refereegranskat)abstract
    • Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.
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  • Brunow, Dagmar (författare)
  • Aus weiblicher Perspektive : Ein Vorwort
  • 2007
  • Ingår i: Frauen und Apfelbäume : Roman. - Zürich : Atrium-Verlag. - 9783855355006 - 3855355002
  • Bokkapitel (populärvet., debatt m.m.)
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8.
  • Brunow, Dagmar, 1966- (författare)
  • Before YouTube and Indymedia : Cultural memory and the archive of video collectives in Germany in the 1970s and 1980s
  • 2012
  • Ingår i: Studies in European Cinema. - Bristol : Intellect Ltd.. - 1741-1548. ; 8:3, s. 171-181
  • Tidskriftsartikel (refereegranskat)abstract
    • Collective film-making practice in Germany is still a blind spot in film historiography. During the 1970s and 1980s independent film and video workshops established a nationwide network to provide ‘counter information’ (Negt/Kluge) in order to challenge dominant media representations. Therefore, the works of the video collectives can become a relevant source for historians and journalists alike. While the videos can be perceived as an important contribution to left-wing cultural memory, this memory of the various media practices of the last decades is currently fading away. The videotapes slowly disintegrate and as digitization is costly and time-consuming, many video productions will not survive. This has consequences not only for historiography, but also for the visual iconography of cultural memory. This article focuses on the archival practice of three workshops in Hamburg, the stronghold for German independent film-making after 1968: the Medienpädagogikzentrum (Centre for Media Pedagogy, 1973–), bildwechsel (1979–), the umbrella organization for women in media, culture and art, and die thede (1980–), an association of documentary film-makers. The examples show how archival practice can be conceptualized not only as part of the hegemonic national archive alone, but also as an act of counter-memory.
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9.
  • Brunow, Dagmar (författare)
  • Black diasporic filmmaking and the political aesthetics of anti-essentialism
  • 2011
  • Konferensbidrag (refereegranskat)abstract
    • The fact that Black artists are quite often pigeonholed as spokespersons of Black experience is due to a mimetic understanding of art. Using examples from 1980s Black British diasporic filmmaking I would like to shift the analytical focus from representation and mimesis towards art as interventionist practice. The mysterious deaths of young Black men in police custody form the point of departure for an exploration of memory and mourning in Mysteries in July (Black Audio Film Collective, 1991). Additionally, the Sankofa film collective's Territories (1985) is an exploration of urban space, historiography, heterotopia and Black masculinities, while practices of surveillance and the framing of Blacks via media discourses are addressed in Handsworth Songs (Black Audio Film Collective 1986). These filmic essays, instead of looking at the black male as a given social problem, reflect on its construction through discourses of media and governmentality. Rather than creating a counter-discourse, these films abstain from trying to depict events "as they really happened". Instead, they deconstruct the hegemonic media discourse through the use of self-reflexive means. While counter practices often assume a unified essentialist stand (as in concepts of Afrocentrism and négritude, for example) I would suggest that in 1980s diasporic Black British filmmaking self-reflexivity is employed as a strategy which might be able to solve a notion of "strategic essentialism" (Spivak). Filmmaking thus serves as an epistemological tool to deal with the gaps, fissures and absences in the national visual archive and in hegemonic historiography while at the same time defying notions of homogeneity and authenticity. The use of self-reflexivity enables the films to reflect on modes of exclusion of the Black subject from hegemonic discourses on the ontology of the image and on the filmic apparatus. To sum up, my paper outlines auteurist strategies of dealing with the exclusion of both the official canon and of the collective visual archive of the nation.
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