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List of contents
Acknowledgements
Killer of Sheep: Charles Burnett and the Poetry of Oppression
David C. Wall and Michael T. Martin
PART ONE: Situating
Killer of Sheep: Time/Place/Circumstance
Cinema and Black Liberation (David E. James)
Struggles for the
Sign in the Black Atlantic: Los Angeles Collective of Black Filmmakers (Michael T. Martin)
Charles Burnett: A Reconsideration of Third Cinema (Amy Ongiri)
Charles Burnett-Consummate Cineaste (Michael T. Martin)
PART TWO: Reading Killer of Sheep
Toward a Geo-Cinematic Hermeneutics: Representations of Los Angeles in Non-Industrial Cinema - [Charles Burnett's]
Killer of Sheep (David E. James)
An Aesthetic Appropriate to Conditions:
Killer of Sheep, (Neo) Realism, and the Documentary
Impulse (Paula J. Massood)
Neo-Realism Meets the Blues in Charles Burnett's Killer of Sheep (Keith Mehlinger)
Killer of Sheep (James Naremore)
Killer of Sheep (Jeffrey Skoller)
Nous revenons à nos moutons: Regarding Animals in Charles Burnett's
Killer of Sheep (Sarah O'Brien)
PART THREE
Screenplay
Biography and Filmography
Index
About the author
Michael T. Martin is Professor of Cinema and Media Studies in the Media School at Indiana University Bloomington. He is editor or coeditor of seven anthologies, and (with David C. Wall)
The Politics and Poetics of Black Film: Nothing But a Man and
Race and the Revolutionary Impulse in The Spook Who Sat by the Door
. He also directed and coproduced the award-winning feature documentary on Nicaragua
In the Absence of Peace, distributed by Third World Newsreel.
David C. Wall is Assistant Professor of Visual and Media Studies at Utah State University. He edited (with Michael T. Martin)
The Politics and Poetics of Black Film: Nothing But a Man and
Race and the Revolutionary Impulse in The Spook Who Sat by the Door
. Other recent work can be found in
Nineteenth-Century Studies and
A Companion to the Historical Film.
