Get After the Storm: The Cultural Politics of Hurricane Katrina PDF
By Simon Dickel and Kindinger
»After the hurricane« lines the cultural and political responses to storm Katrina. instantly after Katrina, and through the earlier 9 years, its devastating outcomes for the golfing area, New Orleans, and the yankee country were negotiated in more and 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 booklet 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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Additional info for After the Storm: The Cultural Politics of Hurricane Katrina
47:00) Not only does Lee interview people whose life was improved thanks to the green projects of Brad Pitt’s foundation, but he also points to the difficult readjustment of the people who were compelled to stay away. The focus on Parker in Demme’s film obstructs a broader perspective, individualizing her plight while simultaneously glorifying her resilience. It seems to suggest that returning to New Orleans is a matter of individual choice whereas many were not able return to their home city because it did not provide the necessary facilities.
Hushpuppy’s mother is long gone; now she and her sick and drinking father Wink (Dwight Henry) are living together, if in separate sheds. As her father succumbs to illness and alcohol – and with a hurricane on the way – Hushpuppy has to figure out how to survive, if necessary even on her own. The confluence of Hushpuppy’s father being sick with Bathtub’s flooding creates the arc of the storyline. 5 As Murray Bookchin’s politically oriented approach to environmentalist philosophy argues, ecological crises “offer a powerful incentive to pursue the transformation of social and political institutions and processes in a non-hierarchical, anarchistic direction” (qtd.
Her life story fits a preconceived narrative of individual empowerment that allows Demme to turn her into the heroine of his biographical film. Although the documentary is no biopic, it derives from the genre and emphasizes the personal over the political. Carolyn Parker is therefore portrayed as an exemplary individual rather than as a committed political figure. Through using a wide range of interviews, Lee challenges the biographical mode of narration and makes for a more complex and contradictory experience.
After the Storm: The Cultural Politics of Hurricane Katrina by Simon Dickel and Kindinger