By Simon Dickel and Kindinger
»After the hurricane« lines the cultural and political responses to typhoon Katrina. instantly after Katrina, and through the previous 9 years, its devastating results for the golfing zone, New Orleans, and the yankee country were negotiated in progressively more 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 offers interdisciplinary views on those and different negotiations of typhoon Katrina and places particular emphasis at the intersections of the kinds race and class.
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Extra resources for After the Storm: The Cultural Politics of Hurricane Katrina
Geographer J. Nicholas Entrikin argues that place creates a center of meaning, which contributes to shaping identity: We live our lives in place and have a sense of being part of place, but we also view place as acting separate, something external. Our neighbourhood is both an area centered on ourselves, as well as an area containing houses, streets and people that we may view from a decentered or an outsider’s perspective. Thus place is both a center of meaning and the extreme context of our action.
41-42) 4 Among the awards Beasts of the Southern Wild received are the top award for dramatic (fiction) film and for cinematography at the Sundance Film Festival, and the Caméra d’Or prize for best first feature at Cannes. 5 In Beasts of the Southern Wild, his first feature film, Zeitlin continued this idea yet connected it to the play Juicy and Delicious (2012) by Lucy Alibar, who (in cooperation with Zeitlin) also freely adapted this play to the screen, keeping the original play’s mix of childhood wonder with the harsh realities of the adult world at the margins of the United States.
03:12) D OCUMENTING S TORIES OF R ECONSTRUCTION | 31 turning her individual courage into an icon of the collective fight waged for the reopening of the church. The focus on the woman yet undermines the community efforts that Spike Lee endeavors to make visible. The documentaries therefore appear as a space of negotiation between the filmmakers and the characters, whose statements are incorporated in an overall narrative fashioned by the filmmakers themselves. The overall discourse of the films conveys the documentarians’ understanding of the situation: Demme tells a story of collective reconstruction through portraying Carolyn Parker’s individual and personal path whereas Lee collects a web of interviews among people whose overtly militant stances he underlines through specific camera movements.
After the Storm: The Cultural Politics of Hurricane Katrina by Simon Dickel and Kindinger