Killer of Sheep

Yes

... as we will be screening Killer of Sheep.

Yes.

February 2nd, 2027 at Bryn Mawr Film Institute as part of the Be Real Micheaux screening series.

I know

...

Killer of Sheep.

Mm.

He's kind of collaborated with FKA Twigs, Flying Lotus, Sampha, Shabazz Palaces, Kenzo and O2 as well, so businesses.

He's kind of directed films, music videos, and advertisements across Africa, America, and Europe.

I think his kind of disruptive style, so it frequently merges visual representations of transcontinental experiences with those kind of counterculture energies of Afro-Diaspora music, and challenges certain Eurocentric biases underpinning Western media.

But at the same time, what I find fascinating is that his works kind of generate certain tensions and contradictions, because they are themselves the products situated within this economic framework of neoliberal capitalism right so they once offer alternative ways of being but at the same time as products as physical kind of objects they participate in and thereby sustain certain social structures that they would otherwise seek to subvert dismantle and i actually came to kill joseph's work as a fan first and foremost right so um i think it was until the quiet comes with flying lotus and that blew me away And then I just wanted to learn more and then started to kind of think about, okay, maybe there's legs for this for an MA project.

to hopefully draw that line between publicly available information on Khalil Joseph, and there's not that much, but there's a little bit, but then also Khalil Davis, the person behind that kind of artistic figure.

um and then thinking about how you know the the art as well where does where is that situated where is where is outputs kind of situated but the music video is an interesting form because it's not the same as like i don't know a film if you have a film or to you know a lot of the time the author gets ascribed or given the kind of authorial weight right whereas with a music video uh director i think emily caston's talked about this but you kind of it's not You kind of misunderstand the medium if you say it's just about, there are some music video directors who take an auto approach, but a lot of the time you're working with a musician, you're working in a collaborative team.

In fact, films aren't innately collaborative, but for whatever reason we put film directors on a bit of a pedestal.

So like music video directors, it's kind of trying to think about, okay, so how does he collaborate with other people? How does he amplify his collaborators' voices? And so throughout the book as well, I've tried to kind of, even though it's kind of, you know, this focusing on Khalil Joseph's work, I'm also thinking about who his collaborators are musically and how he brings them into the conversation.

He's kind of collaborated with FKA Twigs, Flying Lotus, Sampha, Shabazz Palaces, Kenzo and O2 as well, so businesses.

He's kind of directed films, music videos, and advertisements across Africa, America, and Europe.

I think his kind of disruptive style, so it frequently merges visual representations of transcontinental experiences with those kind of counterculture energies of Afro-Diaspora music and challenges certain Eurocentric biases underpinning Western media.

But at the same time, what I find fascinating is that his works kind of generate certain tensions and contradictions because they are themselves the products situated within this economic framework of neoliberal capitalism, right? So they at once offer alternative ways of being, but at the same time, as products, as physical kind of objects, they participate in and thereby sustain certain social structures that they would otherwise seek to dismantle.

If you have a film auteur, you know, a lot of the time the auteur gets ascribed or given a kind of authorial weight, right? Whereas with a music video director, I think Emily Caston's talked about this, but You kind of misunderstand the medium if you say it's just about...

There are some music video directors who take an auto approach, but a lot of the time you're working with a musician, you're working in a collaborative team.

In fact, films aren't innately collaborative, but for whatever reason we put film directors on a bit of a pedestal.

So like music video directors, it's kind of trying to think about, okay, so how does he collaborate with other people? How does he amplify his collaborators' voices? And so throughout the book as well, I've tried to kind of, even though it's kind of, you know, this focusing on Khalil Joseph's work, I'm also thinking about who his collaborators are musically and how he brings them into the conversation.