Charles Burnett’s little known and nearly plotless masterpiece, Killer of Sheep, offers a tender yet realistic vision of life in 1970s Watts, the racially segregated suburb of Los Angeles where poverty, racism, and riots doomed the area to generations of social and economic oblivion. Inspired by Italian neo-realism, Burnett’s camera lingers on characters—many played by non-actors—to reveal situations of familial intimacy and communal identification.
Submitted by Sarah Wagner on Fri, 2008-09-26 15:22
Cartoons—your everyday, old-fashioned ones—are one of my true loves. I haven’t studied graphic art theory, I don’t get into manga, I have no idea who the radical artists are out there. I think it’s a great medium, full of possibilities for telling stories, presenting viewpoints, making people laugh and think. Heck, I learned most of my Vietnam-era US political history from reading old Doonesbury books. Graphic novels? I’ve read two (V for Vendetta and Fun Home) and loved them. But let’s just say I’m a casual but enthusiastic lover of the comics.
Jeremy Blake’s Century 21 (2004)—the final installment in a trilogy inspired by the narrative of eccentric firearm heir, Sarah Winchester—digs into the psychic tableau of the American West. It’s gorgeous—and horrific.