Masculinity In The Film: Killer Of Sheep

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How can you be a man to your family when you are poor and black? Killer of Sheep poses this question over and over again, and the tension between masculinity, blackness and poverty is central to the movie. The film seems to provide Stan with several choices, all of which are directly related to his masculinity. He can accept the advances of the white woman, which offers him both a way out of a miserable job at the slaughterhouse and a boost to his “manliness” in the form of a tryst with a woman of a higher status. This is immediately unpalatable to him, a fact that is emphasized by the uncomfortable close-on of her hand rubbing his wrist and followed by her sideways smirk. Although he promises to think about her “warm proposition,” the movie never again explores this possibility. Alternately, he can buy the engine, which serves both as an assertion of masculinity and—as his friend notes—as a signifier of class. While he opts to try this, the entire plan is ill-fated; the scene where he picks up the engine contains some of the most imbalanced sequences in the entire movie, and the extreme and off-putting diagonal of the street effectively communicates
His only ways out of his job slaughtering sheep are through unfaithfulness or by being an accessory to murder. Whether it’s the sheep, his wife or the white man, he doesn’t have the option to not hurt anyone. The scene takes place on the porch, such that both the walls and the two men close him in within the frame. Once again, the slight low angle and motion of the camera add a bit of a sinister air to the scene. But his wife’s entrance into the scene, lurking from behind the screen door, completely surrounded by blackness, feels heavy, and when she opens the door and hovers above him, placed even above the two other men, she reclaims him. His decision to not assist them with murder seems to be made final—or at least more clear—by her

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