Killer of Sheep – Charles Burnett - Xiongyue Yu Journal Entry 16

Killer of Sheep – Charles Burnett

 

Realism is one of the most difficult forms of film aesthetics to interpret, and this 1978 American drama film is a classic work of realism aesthetics, which shows a unique realism aesthetics, that is, non-representational aesthetics. Unlike the scenes or things deliberately added by the filmmaker, the initiative of the objective world is also presented in the film, which is one of the unique charms of film as a form of artistic expression, faithfully and actively restoring the story and history of what happened in the world. Although Killer of Sheep is a film that does not seem to receive the recognition and fidelity it deserves, it is still often compared to the works of the French New Wave movement and Italian neo-realism.

 

The film depicts urban African-American culture in the Watts district of Los Angeles, and the entire film is documented like a documentary in a series of vignettes that align with real world scenes, as well as with real lives and people. There are non-actor characters in it, and the real slow pace of life is faithfully recorded, which runs counter to the deliberate elaboration of Hollywood films. But there is still a compelling plot and a clear story line between the seemingly fragmented pieces. The film is also more flexible in its use of camera work, which better reveals the dynamics of the characters and adds visual appeal. That's why Dale Eisinger calls it, "a hazy, dreamlike movement that manifests itself as a non-narrative, loose collection of vignettes that are fascinating and surprisingly powerful."

 

And of course, in the film's intention to reflect deeply on ideological and cultural justice and global inequality, Killer of Sheep is a film that offers a humane glimpse into inner-city life through funny, sad and profound shifts within the plot and camera.