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"Aint that Something?"

...feeling, but like something you couldn't find no more in the world today" (58). Gipe doesn't sidestep the dire effects of poverty and addiction in a place where there just...

Shades of Violence: Jim Crow Justice and Black Resistance in the Depression-Era South

...notes the role of US communists and allied labor radicals in promoting the argument, as the Southern Worker contended, that "the police, the courts, and the 'law enforcing' machinery are...

No Place To Be Displaced: Katrina Response and the Deep South's Political Economy

...people of color, and women. The extreme inequality in these states reflects a white southern legacy of a government/elite/corporate alliance that promoted slavery and the plantation system; post-slavery agricultural peonage;...

Starlit Screens: Preserving Place and Public at Drive-In Theaters

...a growing interest not just in maintaining existing theaters, but in constructing new ones.7"Drive-in Theater Search," Drive-ins.com, http://drive-ins.com/srchdest.htm?name=&city=&code=al&status_op=open&search.x=13&search.y=12. Six of Alabama's ten drive-ins opened since 1996.8Calvin R. Trice, "Couple seek...

"The Ohio River Was Not the River Jordan": A Review of Matthew Salafia's Slavery's Borderland

...most pronounced dividing line between North and South, and between freedom and slavery. It was, in fact, the nation's only physical boundary separating free from slave states. Matthew Salafia constructs...

The Supreme Court Is Overturning Brown v. Board of Education

Blog post In a case decided on the grounds of religious freedom, the US Supreme Court took another big step on June 30 in supporting religious discrimination in publicly financed...

Indians in the Family: Adoption and the Politics of Antebellum Expansion

...people into the US body politic, which they described as a free white national family. Rather than emphasizing the various forms of violence required to dispossess Native people of their ancestral...

Visions for Sustainable Agriculture in Cuba and the United States: Changing Minds and Models through Exchange

...nothing to promote political and economic change. In July 2010 Menendez took the Senate floor to oppose an easing of travel restrictions, remarking that more opportunities for US citizens to...

Revisiting Flaherty's Louisiana Story

...vision of Louisiana in the documentary classic Louisiana Story. The making of that Louisiana story follows Flaherty's standard format. He created "narrative documentaries," what we might call today "docudramas." But...

References
1.	Cajun Country, dir. Alan Lomax (Media Generation: 1991). A streaming version of this documentary may be viewed at http://www.folkstreams.net/film,125. For more on the complex and ongoing study and discussion of what constitutes, Creole, Cajun, and the cultural Creolization of southern Louisiana see Nicholas R. Spitzer, "Monde Créole: The Cultural World of French Louisiana Creoles and the Creolization of World Cultures," The Journal of American Folklore 116:459 (2003): 57-72.
2.	Shane K. Bernard, The Cajuns: Americanization of a People (Jackson, MS: University Press of Mississippi, 2003): 86-87.
3.	In our interview with J. C. Boudreaux, he expressed similar mixed sentiments about the benefits and costs of the modernization of Acadiana, as does Carl Brasseaux, Director for the Center of Louisiana Studies at the University of Louisiana at Lafayette in an interview included in one of the Revisiting student projects.
4.	For their part Ellis and McLane choose to argue that classicism rather than romanticism is the best was to characterize Flaherty's work. New History of Documentary Film (NY: Continuum, 2008).
5.	Michael Renov, The Subject of Documentary, (Chicago: University of Chicago Press, 2004).
6.	Ibid., 105.
7.	Jack C. Ellis and Betsy A. McLane, A New History of Documentary Film, (NY: Continuum, 2008): 18.
8.	Ibid., 21.
9.	André Bazin, "Lettre de Sibérie, un style nouveau L'Essai documenté,'" France Observateur. 1958. Reprinted as "Bazin on Marker," trans. Dave Kehr, Film Comment 39:4 (2003): 44-45. In discussing Chris Marker's Letter from Siberia as an essay film, Bazin declares that the word "essay [is to be] understood in the same sense that it has in literature—an essay at once historical and political, written by a poet as well."
10.	Della Pollock, "Making History Go." Exceptional Spaces: Essays in Performance and History (Chapel Hill: University of North Carolina Press, 1998): 11.
11.	Stella Bruzzi, New Documentary: A Critical Introduction (New York: Routledge, 2000): 6.
12.	Brian Rusted, "Re: Visiting Flaherty," Critical review of Revisiting Flaherty's Louisiana Story. Unpublished ms.: Proceedings of the Performance Studies International Conference, Aug. 2008. Forthcoming in Liminalities (http://liminalities.net/).
13.	Jay Ruby, Picturing Culture (Chicago: University of Chicago Press, 2000): 67-93. See also Ruby's "A Re-examination of the Early Career of Robert J. Flaherty", Quarterly Review of Film Studies 5.4 (1980): 431-457.
14.	Mikhail M. Bakhtin, Problems in Dostoevsky's Poetics, trans. and ed. Caryl Emerson, (Minneapolis: University of Minnesota Press, 1984): 73.
15.	Gary Saul Morson and Caryl Emerson, Mikhail Bakhtin: Creation of a Prosaics, (Stanford: Stanford University Press, 1990): 239.
16.	Ibid, 242.
17.	Rusted, op cit. We wish to thank Brian Rusted for his enthusiasm for our project and for his work on understanding documentary as performance, especially his notion of the potential in "reintroducing the performing body" into reading documentary and moving away from the "textual orientation" to documentary practices that has predominated in the history of its theory and criticism.
18.	Helen van Dongen, "Filming Robert Flaherty's Louisiana Story," The Helen van Dongen Diary, ed. Eva Orbanz (New York: Museum of Modern Art, 1998): 43.
19.	Robert Flaherty and Francis Flaherty, Working Title Louisiana Story. Filmscript. Undated. Avery Island, Louisiana: McIlhenny Co. Archives. We thank Shane K. Bernard, Curator of the McIlhenny Archives and scholar of Cajun history and culture, for his generous assistance with this project.
20.	Van Dongen, op cit., 31.
21.	Ruby, op cit., 151-180; 239-279.
22.	Bill Nichols, Blurred Boundaries (Indianapolis: Indiana University Press, 1995): 92-106. To be sure, Nichols' modes of documentary representation are not meant to be strictly chronological, but the concluding section of this chapter of Blurred Boundaries especially aligns the performative mode with the "paradigm shift" of post-modernity (105-06).
23.	André de LaVarre's 'Quaint Folks': Cajuns of the Teche, Columbia Pictures, 1942. The spelling of LaVarre's name varies from film to film made over his long career as travel and sports photographer and filmmaker; information about him may be found at http://www.burtonholmes.org/associates/andredelavarre.html.
24.	Erik Barnouw, Documentary: A History of the Non-fiction Film, second revised edition, (New York: Oxford University Press, 1993): 48-51.
25.	Arnold Eagle, a photographer on assignment for Standard Oil to shoot production stills of Louisiana Story, befriended Flaherty and with his encouragement made the 1949 documentary short, The Pirogue Maker. The film features boatmaker Abdon Allemon, who is depicted making the pirogue used in Flaherty's film. It can be viewed on line at Folkstreams.net. Although a title on Eagle's film conjectures that "It may well have been the last pirogue made in Louisiana," there are, in fact, still a few practicing pirogue-makers. My pirogue was made by the late Raymond Sedotal, whose profile appears on Northwestern State University's Louisiana Folklife Center's website.
26.	Ned Simmons, interview by Patricia Suchy, Jim Catano, and Rob Rombout, Avery Island, LA, October 25, 2006.
27.	Quoted in Paul Rotha, Robert J. Flaherty: A Biography, ed. Jay Ruby (Philadelphia: University of Pennsylvania Press, 1983): 5.

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