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Charles Burnett's 1977 film, Killer of Sheep is one of the towering
classics of African American cinema. As a deliberate counterpoint
to popular blaxploitation films of the period, it combines harsh
images of the banality of everyday oppression with scenes of
lyrical beauty, and depictions of stark realism with flights of
comic fancy. From Street to Screen: Charles Burnett's Killer of
Sheep is the first book-length collection dedicated to the film and
designed to introduce viewers to this still relatively unknown
masterpiece. Beginning life as Burnett's master's thesis project in
1973, and shot on a budget of $10,000, Killer of Sheep immediately
became a cornerstone of the burgeoning movement in African American
film that came to be known variously as the LA School or LA
Rebellion. By bringing together a wide variety of material, this
volume covers both the politics and aesthetics of the film as well
as its deeper social and contextual histories. This expansive and
incisive critical companion will serve equally as the perfect
starting point and standard reference for all viewers, whether they
are already familiar with the film or coming to it for the first
time.
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the
intensity of social and political upheaval during a volatile period
in American history. Based on Sam Greenlee's novel by the same
name, the film is a searing portrayal of an American Black
underclass brought to the brink of revolution. This series of
critical essays situates the film in its social, political, and
cinematic contexts and presents a wealth of related materials,
including an extensive interview with Sam Greenlee, the original
United Artists' press kit, numerous stills from the film, and the
original screenplay. This fascinating examination of a
revolutionary work foregrounds issues of race, class, and social
inequality that continue to incite protests and drive political
debate.
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the
intensity of social and political upheaval during a volatile period
in American history. Based on Sam Greenlee's novel by the same
name, the film is a searing portrayal of an American Black
underclass brought to the brink of revolution. This series of
critical essays situates the film in its social, political, and
cinematic contexts and presents a wealth of related materials,
including an extensive interview with Sam Greenlee, the original
United Artists' press kit, numerous stills from the film, and the
original screenplay. This fascinating examination of a
revolutionary work foregrounds issues of race, class, and social
inequality that continue to incite protests and drive political
debate.
Written and directed by two white men and performed by an all-black
cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a
drifter turned family man who struggles with the pressures of
small-town life and the limitations placed on him and his community
in the Deep South, an area long fraught with racism. Though
unmistakably about race and civil rights, the film makes no direct
reference to the civil rights movement. Despite this intentional
absence, contemporary audiences were acutely aware of the social
context for the film's indictment of white prejudice in America. To
help frame and situate the film in the context of black film
studies, the book gathers primary and secondary resources,
including the original screenplay, essays on the film, statements
by the filmmakers, and interviews with Robert M. Young, the film's
producer and cinematographer, and Khalil Gibran Muhammad, the
Director of the Schomburg Center for Research in Black Culture.
Written and directed by two white men and performed by an all-black
cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a
drifter turned family man who struggles with the pressures of
small-town life and the limitations placed on him and his community
in the Deep South, an area long fraught with racism. Though
unmistakably about race and civil rights, the film makes no direct
reference to the civil rights movement. Despite this intentional
absence, contemporary audiences were acutely aware of the social
context for the film's indictment of white prejudice in America. To
help frame and situate the film in the context of black film
studies, the book gathers primary and secondary resources,
including the original screenplay, essays on the film, statements
by the filmmakers, and interviews with Robert M. Young, the film's
producer and cinematographer, and Khalil Gibran Muhammad, the
Director of the Schomburg Center for Research in Black Culture.
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