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KILLER of SHEEP 107 [Charles Burnett, 1978] Os Ollos Verdes Estrea En Numax 18.04.2016 | V.O.S.E KILLER OF SHEEP 107 [Charles Burnett, 1978] os ollos verdes estrea en numax 18.04.2016 | v.o.s.e. ficha técnica filmografía seleccionada sinopse Killer of Sheep (1978, 83’) Namibia: La lucha Retrato da vida dun home común, Dirección: Charles Burnett por la liberación, 2007 un traballador negro dun matadeiro Guión: Charles Burnett Martin Scorsese presenta the Blues - de Los Ángeles, cunha vida chea de Reparto: Henry G. Sanders, Kaycee Moore, Entre lo sagrado y lo profano, 2003 dificultades e contradicións no seu Charles Bracy, Angela Burnett, Eugene Cherry, Gritos de libertad, 1996 ámbito social e familiar. Era 1977 e Jack Drummond When It Rains, 1995 [curtametraxe] Charles Burnett, estudante de raza Montaxe: Charles Burnett The Glass Shield, 1994 negra da ucla, capturaba coa súa Son: Charles Bracy Nunca te acuestes enfadado, 1990 cámara de 16 milímetros e un grupo Fotografía: Charles Burnett My Brother’s Wedding, 1983 de actores principiantes a vida no Produtora: Charles Burnett suburbio de Watts. Distribuidora: Milestone Films Formato de proxección: DCP 2K, 1.37:1 premios «Unha obra mestra. Un dos Berlín 1981 (Premio FIPRESCI), dramas máis profundos National Film Preservation Board 1990 e auténticos sobre a vida dos afroamericanos.Un dos máis grandes filmes norteamericanos, e punto» Dave Kehr. international herald tribune OS OLLOS VERDES: CHARLES BURNETT KILLER OF SHEEP + AULA OS OLLOS VERDES «CONTRA QUEN PELEXO ESTA NOITE?» luns 18 de abril 2016 | 17:30 Entrada de balde previa reserva Duración estimada: 2 horas Entrevista ver filmes. Comecei a interesarme pola na libraría numax fotografía e a cámara de cinema, pensei (selección a cargo de víctor paz) a Charles Burnett en matricularme na Universidade de El extraño asesinato. Por David Jenkins Southern California porque se atopaba Chester Himes. Akal, 2010 ben preto da miña casa, pero era cara de Elogiemos ahora a hombres famosos. máis. Preguntei na ucla e vin que era ben James Agee & Walker Evans. Planeta, 2015 máis barata e por iso ingresei nela. Vida de Frederick Douglass, un esclavo americano. Frederick Douglass. Alcalá, 2013 Era unha época na que se vivía un L.A. Rebellion. Creating a New Black Cinema. Killer of Sheep era unha reacción ambiente dinámico e creativo. Si, Allyson Field, Jan-Christopher Horak, contra Hollywood? Máis ben era unha estaba aí o movemento polos dereitos Jacqueline Najuma Stewart (Eds.). University of California Press, 2015 reacción aos filmes políticos que se facían civís, a Guerra do Vietnam, as Panteras naquela altura. Había unha chea de fitas Negras... Todo o mundo empregaba a Democracia de la abolición. Angela Davis. Trotta, 2016 arredor da clase traballadora explotada arte para representar problemas sociais Las confesiones de Nat Turner. pola patronal que, ao formar un sindicato, e a meirande parte dos mozos da escola William Styron. Belacqua, 2008 resolvían de súpeto todos os problemas. de cinema, especialmente a xente de cor, Charles Burnett, un cineasta incómodo. A miña resposta era que a maioría da tentaba mudar a percepción da sociedade María Míguez, Víctor Paz (Eds.) xente era abondo afortunada cando era en Hollywood. Era un período no que se Play-Doc Books, 2016 quen de atopar un traballo e conseguía tentaba definir o cinema e consideralo mantelo un certo tempo. Cando comecei como unha forma de arte. Killer of Sheep quería crear algo que agromase da miña propia experiencia. Que caste de filmes vías na ucla? A idea era que se ti foses guindado á Estaba especialmente interesado no esquina da 97 entre Avalon e Watts, iso documental. Os filmes líricos de Pare é o que atoparías. Un anaco de vida. Lorentz, Robert Flaherty e Joris Ivens. Colaboran: Recibín clases de documental de Basil Que te empurrou a estudar un curso Wright, o autor de Song of Ceylon (1934), de cinema na ucla a mediados dos que me achegou un sentido da dirección. 70? Estaba a estudar electrónica e tiña Lembro manter unha conversa con un traballo nunha biblioteca local no Wright na que me explicou como fixo serán. Tiña as tardes libres e adoitaba ir Song of Ceylon. Díxome que era preciso KILLER OF SHEEP [Charles Burnett, 1978] biofilmografía Charles Burnett (Vicksburg, Mississipi, 1944) sitúase como un dos principais autores do cinema independente nos Estados Unidos e está considerado cineastas como Martin Scorsese, como «o máis talentoso e importante realizador afroamericano». Burnett dáse a coñecer en 1977 co filme Killer of Sheep, retrato cheo de crueza e tenrura da vida cotiá no barrio de Watts, Los Angeles, onde se criou o autor. Esta obra, seleccionada pola Biblioteca Nacional do Congreso polos seus valores históricos e artísticos, inaugura unha filmografía que, no seu período inicial, achega unha ollada plena de frescura e veracidade á vida nos barrios negros de Los Angeles, en filmes independentes como My Brother’s centrarse nun suxeito e tratalo con este asunto máis adiante. Os posuidores Wedding (1983) ou When It Rains dignidade e humanidade. Era algo que da canción Unforgettable negáronse (1995). Nos últimos anos, Burnett eu precisaba ouvir. «Conta a túa historia», a conceder os dereitos, co cal todo se tense achegado a paradigmas de produción máis próximos á foi o que me dixo. atrasou moito. Finalmente decidimos industria sen abandonar por iso repetir unha das primeiras cancións de a súa capacidade para nos falar Que lembras da rodaxe de Killer Dinah Washington no seu lugar. Hai con sinceridade da súa propia of Sheep? Todo o filme contaba cun outra canción, Poet and Peasant Overture, comunidade, asinando obras como guión e un storyboard e quería crear que tamén tivemos que substituír. To Sleep with Anger (1990) ou algo que fose o oposto a un filme de Nightjohn (1996). Hollywood. Non quería empregar Revisando agora Killer of Sheep, coidas contraluces nin nada semellante e o filme que mudou o teu xeito de traballar? foi relativamente barato unha vez tomada Se a fixeras hoxe tería cambiado algo? esa decisión. Quería tamén levar o Non creo. Era un experimento en moitos cinema á comunidade para desmitificalo. sentidos. Sempre que fas algo estás a Comezamos cun modesto equipo técnico experimentar dalgún xeito, queres ir na ucla, mais durante a rodaxe foise máis e máis aló. Tiña o estilo axeitado sumando xente en diferentes labores. para o que tentaba facer, que era penetrar Por exemplo Charles Bracy [un dos nunha realidade sen impor uns valores actores do filme] e os seus fillos sobre a mesma e manter un estilo o máis remataron facendo o son. Foi todo moi documental posíbel. relaxado, se a xente non se presentaba un día non gravabamos, se aparecían si. Tes falado sobre as mudanzas da comunidade filmada. Coidas que Killer Extraído de: http://www.timeout.com/london/ of Sheep funciona como unha cápsula film/charles-burnett-on-killer-of-sheep de tempo? Coidas que é... Relevante? Non, estou certo de que é relevante. Mais como pensas que o filme se relaciona co mundo a día de hoxe? Coido que no filme pódese ver a semente Entrevista dalgunhas cousas que aconteceron máis a Charles Burnett adiante. As manifestacións de Watts foron en 1965, nós gravamos o filme a comezos Por James Ponsoldt dos 70 e pódese ver o pouco que se fixo nese intervalo para axudar a comunidade. Tiveches bastantes problemas coa E nalgúns aspectos, se miras para atrás, música de Killer of Sheep. Eu era a cousa é aínda peor agora. Daquela, era daquela un estudante e non pensaba que máis doado conseguir un traballo manual, o filme fose ser proxectado en salas de mais agora todo é tecnolóxico. Daquela cinema. Rematei o filme e engadín toda era posíbel aprender un oficio na familia, a música sen pensar. Naquel momento se eras carpinteiro ou fontaneiro e agora non houbo problemas cos dereitos da cómpre ir á escola para todo. No filme música nin sabía o que ía acontecer con hai algúns elementos antisureños, como «CONTRA QUEN PELEXO ESTA NOITE?» AULA OS OLLOS VERDES CON CHARLES BURNETT luns 18 de abril 2016 | 17:30h Entrada de balde previa reserva en [email protected] Duración estimada: 2 horas Na súa aula, Burnett fará un percorrido por toda a súa obra, tamén a máis descoñecida. Falará do seu método de traballo, con experiencias moi positivas, nas que tivo o control total, como a libérrima e moi independente When it Rains; fronte a outras máis difíciles, nas que se tivo que adaptar a un modelo de o fillo que chama á súa nai, «cariño», o pelo en Watts nunha barbaría, e produción máis constrinxido e nas que que é como un código rural, e ela dille sempre que ía alí escoitaba algunha non asinou o guión. Nuns casos e noutros, que non fale así. Hai un rexeitamento a conversa ou discusión dos vellos do Burnett sempre intenta imprimir o seu certos valores, mais tamén hai unha certa barrio. Nunha delas coincidiu co selo, e sobre iso se centrará precisamente relación con eles. aniversario de Paul Robeson. Eu estaba a súa charla. Sobre iso, e sobre o respecto emocionado pola efeméride mais a ao retratado; a súa máxima. Existe unha exploración sobre actitude xeral da xente era contraria como o rural, ou os valores sureños, a Robeson pois consideraban que se poden coexistir nunha contorna convertera nun inimigo do país. Estaban metropolitana como Los Angeles? a falar dun tipo que clamaba contra a Iso vese máis en filmes posteriores como inxustiza por todo o mundo! Daquela To Sleep with Anger ou My Brother’s comezou un gran debate no que a xente Wedding. Cando eu era pequeno este era dicía cousas como: «voulle mercar un un enfrontamento constante. Se viñas do billete de avión a Rusia se promete que Sur a xente chamábate «country» cunhas non vai volver».
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