After the Storm: The Cultural Politics of Hurricane Katrina by Simon Dickel and Kindinger

By Simon Dickel and Kindinger

»After the hurricane« strains the cultural and political responses to storm Katrina. instantly after Katrina, and through the previous 9 years, its devastating effects for the golfing area, New Orleans, and the yank state 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 specified 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

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There are many moments when the documentarians lend their art of filmmaking to highlighting the words of the filmed participants. Framing thus enhances the “performative mode” of the documentary, in which, according to Jane Roscoe and Craig Hight, “a key focus becomes the prioritisation of the subjective aspects of documentary accounts of reality” (2011: 46-47). Demme builds up a proximity relationship with Carolyn Parker by using an abundance of close-ups throughout the film, capturing the playful look in her eyes and generating a sense of closeness and confidence that counters a voyeuristic look.

Foster, From the Ground Up (2000) as well as Laura Westra, Bill E. Lawson, and Peter S. Wenz, Faces of Environmental Racism (2001). 8 In a similar vein, Wickham DeWayne argues that both “race and class played a role in the fate of poor blacks victimized by Hurricane Katrina and the government’s poor response. ” (2006: 40, 41) 50 | M IRIAM STRUBE Hushpuppy’s reality her absent mother and the extinct aurochs are present although they do not belong to our empirical world and her mother cannot even be seen by others within the diegetic framework of the film).

David Harvey explains that places are constructed through socio-spatial practices; home is not just identified as the place where one lives, it is endowed with cultural and social values as individuals weave their individual life stories into the local narrative: Places are constructed and experienced as material ecological artefacts and intricate networks of social relations. They are the focus of the imaginary, of beliefs, longing and desires (most particularly with respect to the psychological pull and push of the idea of “home”).

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