By Simon Dickel and Kindinger
»After the typhoon« lines the cultural and political responses to storm Katrina. instantly after Katrina, and through the previous 9 years, its devastating results for the golfing sector, New Orleans, and the yankee kingdom 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 booklet offers interdisciplinary views on those and different negotiations of storm Katrina and places specified emphasis at the intersections of the types race and class.
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Extra resources for After the Storm: The Cultural Politics of Hurricane Katrina
3 But I am not only interested in what Cavell has to say about film ontology, especially his notion of screening as I will explore in the final part of this essay, but also in what Cavell continuously does in his writing, namely pointing to the self-reflective dimension of writing about film. 4 Following the devastating effects of Hurricane Katrina, Zeitlin and his Court 13 cohort went to New Orleans and 2 Thus, for instance, when analyzing the comedies of remarriage in Pursuit of Happiness, he differs from readings that assume these films as escapist fairy tales for the Depression era.
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. C ONCLUSION The documentaries made for television by Lee and Demme enrich the portrayal of African-Americans on screen, challenging the stereotypes that came to the forefront in the wake of Katrina.
In the words of Demme, the film portrays Parker as “a woman who is driven by her vision of social justice, the difference between right 38 | D ELPHINE L ETORT and wrong, how people should be dealt with. ” (cf. “Filmmaker Interview”) Her church going provides a leitmotif throughout the film with the still camera observing moments of religious fervor, using diegetic music to share her piety. Lee does not aim to establish this proximity with his interviewees, for he builds a militant piece setting forth political views that Demme does not engage with.
After the Storm: The Cultural Politics of Hurricane Katrina by Simon Dickel and Kindinger