By Simon Dickel and Kindinger
»After the hurricane« strains the cultural and political responses to typhoon Katrina. instantly after Katrina, and through the prior 9 years, its devastating effects for the golfing sector, New Orleans, and the yankee kingdom 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 e-book offers interdisciplinary views on those and different negotiations of storm Katrina and places detailed 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
Interestingly, living on a dump, having recycled thrown-away material, being surrounded by objects others have found obsolete is not reflected upon – those objects seem as ‘natural’ to Hushpuppy as nature itself. The film is set on a muddy, tiny island in the Mississippi Delta that is shown to be just one levee away from being under water. In the distance, Hushpuppy and her father see an industrial city, presumably New Orleans, with smokestacks and electrical towers. In contrast, in The Bathtub, they are surrounded by wilderness and animals and earth, making good use of obsolete objects from the other side of the levee.
Some people sold their home to the Road Home, got a fraction of what it would cost to actually build a new home and they can’t come back. Then you have new houses being built up all the time. You have the Make it Right Brad Pitt houses, the Lower Nine NENA and other groups that are working to rebuild the Ninth Ward but the task at hand is daunting. (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.
David. But after 18 months of suspenseful deliberation, through sheer strength of numbers, the power of collective will and the unavoidable fact that they were just so plain determined to get back into their home house of worship, St. David once again opened its doors for Mass two years after the floodwaters of Katrina had filled her walls to the rafters. (54:55) These voice-over statements affect the image of Carolyn Parker, whom the camera follows walking through the Lower Ninth Ward after her double-knee surgery, 2 The music used for the film creates a rich intertextual subtext, referring to When the Levees Broke and to Inside Man (Lee 2006), since the three films use the same musical score composed by Terence Blanchard.