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Rahul Kharbanda Group

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Weston Green
Weston Green

Ava (2020) Movie Subtitles

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Ava (2020) Movie Subtitles


Due largely to the masterful Technicolor cinematography of Jack Cardiff, critics and classic movie fans alike often cite this film as depicting Ava at her most beautiful ever on screen. Today, a hilltop statue of Ava as Pandora stands overlooking the beach in the town Tossa de Mar, Catalonia, Spain, where the film was mostly shot.

Parasite, about the members of a poor family who together scheme to work in a wealthy household by posing as unrelated, highly qualified help, has grossed a fantastic $130M globally so far ($24M in the U.S. where Neon handles). The movie is also shortlisted for the Best International Feature Oscar and has already taken home an armful of prizes from critics bodies, including the top honor from the National Society of Film Critics just this weekend.

With Netflix's successful streaming service, it might be easy to assume that anyone still paying to receive DVDs through the mail is a technophobe or someone living in a remote part of the U.S. without reliable internet access. But subscribers say they stick with the service so they can rent movies that are otherwise difficult to find on streaming services.

"I have been getting it for almost half my life, and it has been a big part," Fusco said. "When I was young, it helped me discover voices I probably wouldn't have heard. I still have memories of getting movies and having them blow my mind."

"When we started going through all the movies we wanted to see, we realized it was cheaper than paying $5 per movie on some streaming services," Neumann said. "Plus we have found a lot of old horror movies, and that genre is not really big on streaming."

Konkle says more discs now come with cracks or other defects in them and it takes "forever" to get them replaced. And almost all subscribers have noticed the selection of DVD titles has shrunk dramatically from the service's peak years when Netflix boasted it had more than 100,000 different movies and TV shows on disc.

Produced by Steven Spielberg, Scott Rudin, and Barry Diller, and narrated by Meryl Streep, this documentary chronicles the true stories of five legendary filmmakers who served in World War II. Based on the book by Mark Harris, "Five Came Back" chronicles a time when Americans would get their international news before the start of a movie. It explains how filmmakers Frank Capra, John Huston, William Wyler, John Ford, and George Stevens enlisted in the war to show the real-life story happening overseas.

Leo Jones, 5, watches the movie "Aladdin" from the window of a car during the opening night of the Duck Pond Drive-In outdoor movie series at the home of the Madison Mallards team at Warner Park in Madison, Wis. Wednesday, May 20, 2020. JOHN HART, STATE JOURNAL

(From left) Bailie Wellner, of Boscobel, and Bryce Clark, of Muscoda, pass time as they wait for the featured movie "Fast & Furious" to start at Starlite 14 drive-in theater in Richland Center, Wis., Friday, July 10, 2020. AMBER ARNOLD, STATE JOURNAL

Christa 9:31Yes, I thought about it was very hard. But because of I went on a Lowell Walk, and that's when I first discovered that the Underground Railroad like is here in Lowell, like understanding this church and cried my eyes out and thinking about a way to kind of memorialize that I was thinking about having wherever you I don't know what the right term is for this, but any spot that had an underground railroad, possibly having like a rocking chair, like some sort of way rocking chair that's like fixed. I don't know the art terms, but you know, and says something like, May you rest or something like that, because when I thought about the Underground Railroad, you know, you picture like just fear and running and, and I like to think that today it could be this kind of like, I don't know, like sit down, have a rest and kind of memorialize all the lives that went by. So I think it'd be really cool if every stop maybe there was like this cement, I don't know, rocking chair and like a tree over it. And then language that explains like the whole purpose behind it. A lot of our conversation at this point moved to a discussion of audiences. Christa shared some of her observations about a recent production of the play Nina, about Nina Simone and Lowell. I spoke to the actors that are in the show at MRT right now, Nina Simone. And they said in Chicago is the same issue. People are like, ooh, Chicago, you must have the audience's must be so rich and diverse and they're like Nope, it looks like it looks like Lowell looks like the typical audiences. And I know some people I've spoken with, it's been like barriers to the financial aspect, like a lot of these huge theaters. The patrons are majority people, not of color people. And I would also say what I'm seeing we've only been around for like a year is I just think there really needs to be like a targeted outreach, like something like we were trying to get the word out best we could, but there is not one engine that's really pushing like, Come on people. Let's go to theater, like come on. So it's, it's, it's been a struggle. Somebody else at MRT had brought that up and said, like, how do you feel that there are It was a full house? And there were like three black people there? Like how do you feel about that? And I was like, I don't like it. But I think the the reasoning behind it, I think is a is a big question. And I think if folks aren't intentional about wanting certain people in the audience, I don't think it's going to happen. organically, I think it really has to be some sort of intention, whether it's from the theatre, or higher level government, I don't know. But I think it like has to be an effort. And it's something we're dealing with too. But I do think too with us, just to kind of you were talking about the people don't really want to understand don't want to like, you don't want to rehear the trauma. Like even myself, I don't watch certain movies, because I'm like, it's going to make me sad and depressed, and I don't want to sit in that space. Some people don't mind it, we try to focus on like empowerment. So that to me, just gives people the vehicle to spread their story, which may or may not have struggle in it at all. But I totally I can relate to your friends a bit because I do sometimes it's something where I have to distance myself from certain narratives for my own sanity.

05:16Here it is, this illustration is called 100,000 Days A Year. And before we go into each of these steps, sort of a couple caveats, the bail to bolt process was historically complex and dynamic. And each of the steps that I described here has its own history. And you know, you could spend a lot of time researching and diving deeper into each one of these steps. So this illustration, it has some omissions, it potentially has, you know, it definitely has a perspective, right. And to that end, you know, it is simplified. This is a very simplified version of the process. So with that said, I'll sort of outline this, if you if you see the here's the full illustration, you have the title 100,000 days a year, you have portraits of the so called Lords of the loom are members of the Boston associates who were these sort of wealthy merchant capitalists from New England who devised what became known as the wall fan local manufacturing system, and invested in the cotton manufacturing complex in Lowell. In addition to purchasing the land. You have further Lords of the loom text here. These are other people who invested in it, but sort of not as directly and some are secondary investors through other stock ownership in the Waltham Mills, I have a summary text description that'll walk you through and my sources, a map within a map down here that sort of describes the direction of the interstate slave trade and also the packet lines. On the left here this is there's sort of a subtitle here that says cotton harvesting. These are the steps again, the simplified version, steps of the cotton harvesting process, meaning what's what's actually happening on on the slave labor camps. And then up at the top is the power power loom. One of the workers of the looms often, if not, I believe exclusively women, and a physical description of what happens to the cotton fibers through the spinning and weaving process, landscape drawing of the local manufacturing complex that was part of the manual Merrimack manufacturing company, and then a line of the railroad here that linked the customhouse to each year in the decades before the Civil War, the cotton textile mills and Lowell Massachusetts consumed on average 15 million pounds of cotton. Historian Edward II Baptist estimates that the bales of cotton consumed in Lowell for the Merrimack manufacturing company took slaves a combined 100,000 days of labor per year to produce capital invested by a small handful of people. The Lords of the loom made this cycle of violence possible. 100,000 days a year shows a simplified version of this cycle, including the direction of the interstate slave trade, the land expropriated from the Chickasaw, Choctaw Creek and Seminole peoples, the long life long lat style of slave labor camps along the Mississippi River. The steps to produce bales of cotton by slave labor, the packet line between New Orleans and Boston, the overland shipment of cotton bales from Boston to Lowell and then finally, steps to transform cotton bales into textiles. By wage labor working for the Merrimack manufacturing company. One mill in a larger mill complex, the local mill produced course, so called Negro cloth and sold it to plantation owners. A slave who picked cotton could have had that same cotton returned to them in the form of a shirt manufactured in Lowell, the cradle of the American industrial below that text description here. In addition to sort of get the hopefully this description gives you a sense now why it's called this this illustration is called 100,000 days a year. And below the text description are the primary sources, mostly secondary sources that I used in my research, huge shout out to illustrator Madeline Dall, she made this come alive. It's really her artistry that makes this work take you through this illustration. And it's probably the smallest element on the page. And it's it's a map within a map. So if you took a sort of a far out view of this illustration, you'd seen mostly the eastern that the shoreline of of Massachusetts, and you can sort of see that, you know, see that the arm of Cape Cod as it were. And then on the bottom center of this map is a much smaller version of basically the upper south and Gulf Coast coastline of the United States. This solid arrow here represents the general direction of what's called the interstate slave trade, the domestic slave trade are all called the second great migration in the United States. So after 1807, the United States bans importing slaves from the International slave trade. And it's at that point that the domestic slave trade explodes. And you have people basically buying, selling and stealing people from slave camps in the upper south. So South Carolina, Georgia, and where they were producing, you know, tobacco, sugar for rum, they were producing one commodity and bringing them to the banks of the Mississippi River for cotton cultivation. Now, it's important to note that this was not empty territory. This was not empty wilderness here. And we have maps, sort of the shaded area on this map. These other territories are the territories of the indigenous communities that were there were living there at the time. And the map is very much indebted to Edward Baptists book, namely, the Chickasaw, Choctaw Creek, and the seminal peoples in Florida, that that land was was violently expropriated from these peoples and coerced from these peoples in order to the to build up the domestic cotton production process, right? This was for a young nation, right? This is a mere 20 You know, this, this starts wrapping up a mere 30 years, 40 years after the American Revolution. And the cotton commodities known as King cotton is basically the the commodity that is the foundation of, of the young, the young America's economy, sort of that the national economy, so huge stakes in producing cotton, the very small here you can sort of see these like little splinters coming off of the the white line here is the Mississippi River. These little splinters coming off here are the what's called the long lat style of plantations, which was, believe it, it has French origins, the sort of the, the style of the property style, as it were the property geometry. But the idea is to give as many different people, as many different companies and individual plantation owners getting as many people as possible access to the riverfront access to the river will also try to optimize for acreage. So you get these many like very long, long plantation styles so that every everyone who's harvesting, growing cotton and harvesting it can get to the Mississippi River and ultimately to the Port of New Orleans. And then finally, this red dot and then sort of the dotted red line here represents the packet line cycle of commodity production ramps up you get sort of standardized what are called packet lines, where you have basically the same ships more or less, going back and forth to the same places. Often, you know, it can be also known as the triangle trade. Where in one from one voyage, it's it's shipped, like one boat from the Port of New Orleans to New York City is filled with cotton. And then the cotton goes to Liverpool, the Cotton's dumped out of Liverpool, but then the ship is filled back up with cloth wares and other manufacturing goods to make it to the rest of Europe, also potentially going to Africa. But the idea here is that there's a you know, there's a trend shipment line that's constantly going back and forth. The vast majority of the cotton that is produced along the Mississippi River in this part of the South, it ends up in England in Liverpool specifically to be transformed transformed into cloth commodities for the European markets. But even so, you know, the 10% of that that doesn't get exported, that's enough to sort of build up the national economy and certainly build up New England's wealth. just the sheer volume of comments produced is astounding, right? The 15 million pounds of cotton that just goes to Lowell every year at its peak. Something they're like, I think by 1860 something like 45,000 plantations in the American South and I'm not sure how many along our along the Mississippi River but it's a gigantic scale. And then scaling out is sort of the cotton harvesting process. And one thing that we that we omitted here, slave quarters of where were where the slaves were residing and spending their lives. That said with without a mission, we have the top left sort of what's you know, known in American vernacular as the big house or sort of where plantation owners and other sort of company man are doing their business and even living That's, you know, has it's such a powerful symbol in the American imagination and also in American history. And then next to that, labeled one is the clearing of the land, right. And that's something that isn't addressed really much at all in the literature, let alone the connection to slavery, right from when you're reading about the cotton manufacturer in New England, slavery is rarely mentioned. And even in contemporary accounts, the cotton planting and harvesting is highly extractive from an environmental standpoint. So it's, it exhausts the land itself, doing this sort of monoculture, you're depleting the soil of its of its nutrients, you're destroying the ecosystems, you're clearing the forests in the service of producing this con. So you have this this land, it's cleared by slaves, the lumber from the clearing is often used to construct the big house, once it's cleared of stones of, of animal life, and you're left with just the top. So you have step two, which is the plowing of the top soil for planting the actual cotton seeds. And there's a an entire literature about whether you know, what species of cotton plant was most effective and what ticular time in this in the 19th century, this is, this is what's called I believe, upland cotton. The cotton grows it flowers into the sort of fibrous tusks that you're you're familiar with. And then it's, it's harvested by by slave labor. And people are picking, you know, hundreds of pounds of cotton a day. It's brutal. It's truly terrible conditions. And once it's it's harvested, step four, depicts the weighing of each slaves' harvest from that day. And this is something that Edward Baptist, in his book that has never been told, makes an argument about it about when you compare the slave regimes that exist in the West Indies. In the upper south, you see, you see a transformation between the the slave labor regimes that existed there, and what we end up seeing along the Mississippi River and these in these slave camps to produce the garden commodity. And what you see and it's actually depicted in Steve McQueen's movie, 12 YEARS A SLAVE is, unlike, each day, having its own quota. slaves are basically forced to compete against themselves to reach their, their their own personal quotas for how much they pick in the fields each day, so if a slave is out there, they pick 250 pounds of cotton one day, that next day, there's going to be slave owners or another laborer who's working on the on the slave plantation who isn't a slave saying, you pick 250 pounds today. What? Yes, you picked 250 pounds yesterday, what have you picked today, and they're constantly ratcheting up each individual person's quota to extract as much possible cotton from each person as they can, without and sometimes intentionally exhausting that the person themselves. So the cotton is weighed. And then it is it's ginned. And that, you know, there's a huge literature about the the influence of the cotton gin and the explosion of the production of the cotton commodity, which is an automated way or rather a mechanical way of separating the cotton cotton fibers themselves the thing that ultimately become cloth, separating seeds from that, and the ability to separate those seeds in in a more automatic fashion is is one of the necessary conditions for the explosion of commodity production in the south. Then finally, you've got the gin cotton, and it gets bailed or pressed into the bale maybe that that that is the raw what I would refer to as a raw cotton commodity. Meaning that you know, buyers on the other side of this are looking for a standard standard weight, standard size, more or less standard quality of the cotton commodity itself to be used in the manufacturing process. The bales are then you know, now that they've been commodified right into into these units, these bail units, they get stacked on these barges, these barges that float down that go down the Mississippi River, collecting bales from from the different slave labor camps London Mississippi River until finally they make their way to the Port of New Orleans. And from the port. Like I said most go to New York. Most go to Liverpool by by way of New York, most of the cotton goes gets exported out of the country. But the the cotton is bought. It's it's unloaded. It's reloaded out of these packet lines. And then it's off off to their destinations. This is the Boston Custom House, I was interested in the Custom House as an institution, which straddles both the colonial era and also sort of the early the early republic as something


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