By Simon Dickel and Kindinger
»After the hurricane« strains the cultural and political responses to typhoon Katrina. instantly after Katrina, and through the prior 9 years, its devastating outcomes for the golfing zone, New Orleans, and the yankee kingdom were negotiated in an increasing number of cultural productions – between them Spike Lee's documentary movie »When the Levees Broke«, David Simon and Eric Overmyer's television sequence »Treme«, or Natasha Trethewey's poetry assortment »Beyond Katrina«. This e-book presents interdisciplinary views on those and different negotiations of typhoon Katrina and places distinct emphasis at the intersections of the types race and class.
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Extra info for After the Storm: The Cultural Politics of Hurricane Katrina
1991: 7) By developing a trusting relationship and a bond of friendship with Parker, which her home signifies as the place where she invites the film crew, Demme manages to capture this intimate sense of belonging. He thereby becomes complicit with her, trying to counter the sense of estrangement that emerges from the derelict interior of her flood-ravaged living room or the standard setting of her trailer. While the focus on Parker’s individual efforts to have her house refurbished underlines her resilient character, it tends to downplay the structural barriers that prevented many others from returning.
Harvey, David (1996): Justice, Nature and the Geography of Difference, Oxford: Blackwell. I’m Carolyn Parker, the Good, the Mad and the Beautiful, (2011). Dir. by Jonathan Demme. : PBS. DVD. If God is Willing and da Creek Don’t Rise, (2010). Dir. by Spike Lee. New York: HBO Documentary Films, 40 Acres and a Mule. DVD. org/video/2260782771/). ), A New Introduction to Poverty: The D OCUMENTING S TORIES OF R ECONSTRUCTION | 39 Role of Race, Power, and Politics, New York: New York University Press, pp.
John), environmental activists (Lisa Margonelli, Fred Krupp), local attorneys (Scott Bickford, Joseph Bruno), local associations (William Nungesser, Fred Johnson), and official representatives (Ahn “Joseph” Cao) express diverging opinions and bring illuminating insight into the local consequences of a national state of affairs. The documentary calls attention to the actions of concerned citizens who are committed to recovering their place in a city undergoing a rejuvenating process. Lee exploits the polyphony of voices heard in the documentary to demonstrate that the individuals’ return to New Orleans was all too often dependent on their socioeconomic status.