Black magic SDI to HDMI converters are devices that allow you to convert SDI video signals into HDMI signals. SDI stands for Serial Digital Interface, which is a digital video transmission standard used in professional video production. HDMI, on the other hand, stands for High-Definition Multimedia Interface and is a commonly used interface for transmitting high-quality audio and video signals in consumer electronics. The need for SDI to HDMI converters arises when you have professional video equipment that uses SDI connections, but you want to connect it to consumer-grade devices, such as HDTVs or monitors, that only have HDMI inputs. These converters act as a bridge between the two different types of video signals, allowing you to get seamless video transmission from the SDI source to the HDMI display. These converters typically have inputs for SDI signals, which can be in various formats, such as SD-SDI, HD-SDI, or 3G-SDI.
La Llorona and The Curse of La Llorona are two films ostensibly about the same figure in Latin American folklore but each film plays to an entirely different audience. The Curse of La Llorona was the story appropriated by Hollywood, cleaned up and repackaged as the most Hollywood of things – a spinoff from a successful box-office franchise – and sold to horror audiences. By contrast, La Llorona played to festival crowds and arthouse theatres where people went to see it as an arts and cultural work rather than as a ghost story (although when it came to US distribution, it did end up on the Shudder network).
La Llorona and The Curse of La Llorona are two films ostensibly about the same figure in Latin American folklore but each film plays to an entirely different audience. Research indicates that in 2014, among young adults ages 18-25, 55 of young men disagreed with traditional gender roles that cast fathers as the breadwinners and mothers as the homemakers, a substantial difference from the 83 of young men who disagreed in 1994.
These converters typically have inputs for SDI signals, which can be in various formats, such as SD-SDI, HD-SDI, or 3G-SDI. They also have HDMI outputs to connect to HDMI-enabled devices. Some converters may also provide additional features, such as audio embedding or de-embedding, signal format conversion, or support for 4K resolutions.
The Curse of La Llorona (2019)
In 2019’s The Curse of La Llorona, recently widowed caseworker Anna Tate-Garcia (Linda Cardellini) is struggling to balance her grief against the caregiving needs of her children. When she is assigned the case of a mother who has locked her children in a closet in a bid to save them from the murderous spirit, La Llorona (Marisol Ramirez), events are set in motion that ultimately culminate in a showdown between mothers.
In our first scream, La Llorona has managed to breach the entry of the Tate-Garcia household where she has absconded with Anna’s daughter, Sam (Jaynee-Lynne Kinchen). Knowing that La Llorona intends to kill her child, a frantic Anna follows the two into the water where a battle ensues.
On the surface, the screams informing this scene register as a guttural reaction of a mother attempting to save her child from a dangerous situation. But they also stem from an intersection of anger and grief. As the audience, we know that Anna is struggling in her role as a single parent, and part of the emotion fueling this scream is a hybrid of sadness and anger that she alone is responsible for protecting her family. It is an obligation that weighs heavily on her and that prompts frequent doubts as to whether she alone is enough for her children. Interestingly, the complexity of the scene suggests that perhaps she is correct to be worried.
Although Anna and La Llorona have encountered one another previously, this moment marks their first physical interaction. This should be a moment that assuages Anna’s concern over whether her abilities alone as a mother are enough to protect her children. After all, her instinct to race into the water to save her daughter ties into our cultural expectation that good mothers are self-sacrificing. But complicating this scene is the arrival of Olvera (Raymond Cruz), a former priest Anna has enlisted to help her protect her family against La Llorona. As Anna battles underwater to free Sam, Olvera engages in a hybrid of ritual and prayer above the water that culminates in his placing his hand in the water and breaking La Llorona’s control of the situation. In this moment, Olvera reads as the paternal presence to Anna’s maternal one. Previously, Anna noted that her husband was the religious one and Olvera’s status as a former priest makes him the ideal husband surrogate. Anna is only able to save Sam with Olvera’s help and that reality suggests Anna’s worries that she alone is not enough is based on some truth. Her screams are an awareness that she was right all along; she really can’t protect her children alone.
The idea that children fare better in two-parent households is an inherently patriarchal one. But is it an idea that might resonate with horror film fans? Research indicates that in 2014, among young adults ages 18-25, 55% of young men disagreed with traditional gender roles that cast fathers as the breadwinners and mothers as the homemakers, a substantial difference from the 83% of young men who disagreed in 1994. If we consider that this demographic is also the core demographic to which horror films are traditionally marketed, Anna’s enlistment of a husband surrogate potentially reads as approval of traditional gender role norms. It is a curious position for a genre build upon norm violation.
This quasi-nuclear family dynamic also comes into play in our next scream. Alone in the attic, Anna’s two children are stunned when La Llorona appears to them in her human form. Thinking she has finally found one of her lost children, La Llorona quickly resumes her spirit form when Anna and Olvera appear.
What is especially interesting about the female screams heard here is how they frame two entirely different experiences of maternal grief. The initial scream comes from La Llorona as she charges toward Anna. Having just mistakenly believed reunification with her deceased children was imminent, La Llorona’s scream is a powerful intersection of grief and anger-fueled in no small part by a desire to lash out at mothers who still have their children. La Llorona’s grief is complicated for the audience because while we see her sadness and yearning as she caresses the face of Anna’s son, we also know that her children died as a result of matricide. There is an implication that she deserves her grief in a way that Anna simply does not. For her part, Anna’s scream is a renunciation of La Llorona’s pain. As the mother for whom the audience is positioned to align, Anna’s grief is acceptable because she did nothing to deserve it, unlike La Llorona.
This issue of which mother deserves our sympathy is then complicated by the film’s explicit privileging of white motherhood. We know that in her human form, La Llorona is a Mexican woman. And we know that the only other mother the film introduces us to is Patricia Alvarez (Patricia Velásquez) who is also a Latina. Like La Llorona, Patricia’s arc is one of a mother who seeks to be reunited with her deceased sons. But unlike La Llorona, responsibility for their deaths, which occur after Anna dismisses Patricia’s fears of La Llorona as a silly folktale and removes the children from her home, does not reside with Patricia. Rather, her monstrosity is connected to her willingness to sacrifice Anna’s children to La Llorona in return for her children. No space of empathy is granted to the character until she reverses her decision and allows Anna the opportunity to save her children, an opportunity previously denied to Patricia by Anna. That the film depicts its two Latina mothers as menacing while casting its white mother as an innocent reflects a significant and deep bias in how North American motherhood is framed in popular culture largely by whiteness.
Coontz, Stephanie, and Virgina Rutter. Council on Contemporary Gender and Millennials Symposium, 31 Mar. 2017, contemporaryfamilies.org/wp-content/uploads/2017/03/FINAL-CCF-Gender-Millennial.pdf.
Doyle, Nora. Maternal Bodies: Redefining Motherhood in Early America. University of North Carolina Press, 2018.
The Curse of La Llorona. Directed by Michael Chaves, performances by Linda Cardellini, Raymond Cruz, and Patricia Velásquez, Warner Bros. Pictures, 2019.
Maria Mercedes Coroy (Alma), Julio Diaz (General Enrique Monteverede), Margarita Kenefic (Carmen Monteverede), Sabrina de la Hoz (Natalia Monteverede), Maria Telon (Valeriana), Alya-Elea Hurtado (Sara Monteverede), Juan Pablo Olyslager (Letona)
The advantage of using SDI to HDMI converters is that they allow you to take advantage of the high-quality video signals available in professional video equipment and display them on consumer-grade devices. This is particularly useful in situations where you need to monitor the video output in real-time or use consumer-grade displays for presentations or events. However, it's important to note that SDI to HDMI converters are not bidirectional, meaning they can only convert SDI signals to HDMI and not the other way around. If you need to convert HDMI signals to SDI, you would require a separate converter designed for that purpose. In conclusion, black magic SDI to HDMI converters are essential tools for connecting professional video equipment with SDI outputs to consumer-grade devices with HDMI inputs. They provide a seamless and reliable solution for converting SDI video signals into HDMI signals, allowing you to take advantage of high-quality video transmission in various applications..
Reviews for "Black magic and the law: Legal implications and consequences"
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