Killer of Sheep is a 1977film that depicts the culture of urbanAfrican-Americans; the film is considered an alternative to "Blaxploitation" films. It stars Henry G. Sanders, Kaycee Moore, Charles Bracy, Angela Burnett, Eugene Cherry and Jack Drummond. 1977 was a common year starting on Saturday (the link is to a full 1977 calendar). ... Film refers to the celluloid media on which movies are printed Film is a term that encompasses motion pictures as individual projects, as well as the field in general. ... Look up Culture in Wiktionary, the free dictionary Wikinews has news related to this article: Culture and entertainment Dictionary of the History of Ideas: Cultural Development in Antiquity Dictionary of the History of Ideas: Culture and Civilization in Modern Times Classificatory system for cultures and civilizations, by Dr. Sam Vaknin... The term urban means cities and towns as distinct from rural areas. ... African Americans, also known as Afro-Americans, Black Americans, or blacks, are an ethnic group in the United States of America whose ancestors, usually in predominant part, were indigenous to West Africa. ... Blaxploitation is a portmanteau of the words black and exploitation. ...
The movie was written and directed by Charles Burnett and has been selected for preservation in the United States National Film Registry. Charles Burnett - Wikipedia /**/ @import /skins/monobook/IE50Fixes. ... The National Film Registry is the registry of films selected by the United States National Film Preservation Board for preservation in the Library of Congress. ...
Slowly the sheep aproached the sleeping dog and as it arrived there, it made one quick, predatory move of its head and from the gurgling sound and the awfully brief struggling of the dog he could tell that his throat must have been ripped clear out.
The killersheep hissed and the moonlight glistened upon its fangs.
The sheep was getting up on its hind legs and he saw that his attack would fall too short, so he tried to break his fall and turn around to a less vulnerable position.
Both Bubble and Killer of Sheep were made outside the Hollywood system—Soderbergh’s hi def “experience” was an independent production released simultaneously on DVD, on television, and in the theaters; Burnett’s 16mm masterpiece was a student project which never received a major commercial release.
Killer of Sheep, too, was shot on location in Watts, again with amateur actors.
On the other hand, Killer of Sheep refuses to impose order of any kind—stereotype, genre, even narrative—on the world it portrays, and in so doing, it somehow offers us the most delightfully shocking thing of all: the briefest glimpse of a real alternative to conventional cinematic storytelling.
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