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Writing Appalachia

...focusing instead on what John Alexander Williams calls "core" Appalachia—that is, the southern mountains as defined by Campbell and others.17John Alexander Williams, Appalachia: A History (2002), 13. Aside from the...

Unearthing the Weeping Time: Savannah's Ten Broeck Race Course and 1859 Slave Sale

...and his horse racing exploits, see John Dizikes, Sportsmen and Gamesmen (Boston: Houghton Mifflin, 1981), 124–157; also John Dizikes, Yankee Doodle Dandy: The Life and Times of Tod Sloan (New...

Genres of Southern Literature

...and "Southern," the literatures that are categorized within these separate concepts of "flowerings" share many of the same historical contingencies. One has only to read John Crowe Ransom's "Antique Harvesters" and...

Atlanta's Charis Books and More: Histories of a Feminist Space

...versa.1This essay is adapted from Saralyn Chesnut and Amanda C. Gable's "'Women Ran It': Charis Books and More and Atlanta's Lesbian-Feminist Community, 1971–1981" in John Howard, (ed.) Carryin' On in...

The Joneses: Home Made in Mississippi

Interview Southern Spaces: How did you begin the project that became this remarkable documentary The Joneses? https://vimeo.com/390791326 The Joneses Trailer. Bunny Lake Films LLC, 2016. John Howard: Jheri (at the...

Vivir en las Fronteras: Inmigrantes Maya de Guatemala en el Sur de los Estados Unidos

...Class Consciousness in an Indian Community” in Moors, Guatmala Indians and the State, 205-229; John M. Watanabe, Maya Saints and Souls in a Changing World (Austin: Univesity of Texas Press,...

Ablaze: The 1849 White Supremacist Attack on the Pendleton Post Office

...high number but nothing like comparative statistics in the central or southern parts of the state.59For a good understanding of these numbers, see Megginson, African American Life, 8. Consider how...

Spectacles of American Nationalism: The Battle of Atlanta Cyclorama Painting and The Birth of a Nation

...massive frontal assaults against their position east of the city on July 22, 1864. At the center of the combat action rides Federal Major General John A. Logan, the largest...

Revisiting Flaherty's Louisiana Story

...income, but then switched to the less cinematically interesting (and for some critics, less symmetrically ironic) work of a telephone lineman because it paid better and was less dangerous. As...

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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