By Simon Dickel and Kindinger
»After the hurricane« lines the cultural and political responses to typhoon Katrina. instantly after Katrina, and through the earlier 9 years, its devastating effects for the golfing zone, New Orleans, and the yank 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 ebook offers interdisciplinary views on those and different negotiations of typhoon Katrina and places distinctive 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
They are an intense focus of discursive activity, filled with symbolic and representational meanings, and they are a distinctive product of institutionalized social and economic power. (1996: 316) D OCUMENTING S TORIES OF R ECONSTRUCTION | 37 Clovina “Rita” McCoy keeps repeating that she hates Texas; the outside shots point to the isolation of the house in a humdrum suburb, where all the houses look identical to each other, with clean paths defining the ideal distance between neighbors. The women have not really integrated the local routine and there is no sign of their blending into a state that represents their uprootedness.
2006: 30) Walter Ellis likewise points to the race and class divide revealed by Hurricane Katrina: “New Orleans, the city hardest hit by the storm, is one of the poorest cities in the United States; flood victims there were predominantly poor and black. ” (2006: 15, 16)8 Thirdly, the film focuses on the existence of communities living and surviving literally on the margins and on the recycled objects thrown away by mainstream society. Communities as in Beasts of the Southern Wild exist and have existed for a long time, for example they did so in large numbers during the Great Depression.
Demme underlines the metonymical relationship between Carolyn Parker and her house, which exhibits her vibrant character through flashy colors – including the light green of her outside walls and the “Barbie” pink which used to cover the walls of her daughter Kyrah’s bedroom. The woman expresses her attachment to her house, recalling the years she devoted to transform it into a home. She retrieved a few unspoiled artifacts from the ruined house, which she put up on a “wall of remembrance” that visually testifies to the emotional dimension of the family home.