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Psychiatry in the Wake: Racism and the Asylumed South

...Milledgeville Asylum and the Georgia Surreal," Southern Quarterly; Hattiesburg 48, no. 3 (2011): 114–150,158; Segrest, "Exalted on the Ward: 'Mary Roberts,' the Georgia State Sanitarium, and the Psychiatric 'Speciality' of...

Southern Spaces on Hurricane Katrina

...Gulfport, Mississippi, 2005." Southern Spaces, September 1, 2008, https://southernspaces.org/2008/barge-washed-ashore-after-hurricane-katrina-gulfport-mississippi-2005. Moye, Dorothy. "Katrina + 5: An X-Code Exhibition." Southern Spaces, August 26, 2010, https://southernspaces.org/2010/katrina-5-x-code-exhibition. ———. "The X-Codes: A Post-Katrina Postscript." Southern...

Three Poems and a Critique of Postracialism

...Davis (of Mercer University) for bringing me to Georgia in the first place. Thanks also to the Georgia Humanities Council and the Emory Department of English for co-sponsoring this talk....

Readership Reports and the Benefits of Open Access Publishing

...access journal, Southern Spaces is committed to supporting our authors in communicating the value of their publications to tenure and promotion committees. Members of such committees may not have experience...

The Pursuit of Health: Colonialism and Hookworm Eradication in Puerto Rico

Public Health Crossings Top, Colonel Bailey K. Ashford, ca. 1893. Courtesy of Wikimedia Commons. Image is in public domain. Bottom, William H. Hunt, Governor of Puerto Rico, 1901–1904. Courtesy of...

Putting the Vernacular in Modernism: A Review of Edward Comentale's Sweet Air

...Troutman, Indian Blues: American Indians and the Politics of Music, 1879–1934 (Norman: University of Oklahoma Press, 2012); Barry Mazor, Meeting Jimmie Rodgers: How America's Original Roots Music Hero Changed the...

Place and Pluralism: The “Georgia Harmonies” Traveling Exhibition

...“Georgia Harmonies: Celebrating Georgia Roots Music” opened at the Harris Arts Center in Calhoun, Georgia. The first of a dozen stops in Georgia of “New Harmonies” (a project of the...

Global Lives, Local Struggles: Latin American Immigrants in Atlanta

...Georgia. Photo by Mary Odem, 2001 Blessed Sacrament Chapel in the Misión Católica de Nuestra Señora de las Américas. Doraville, Georgia. Photo by Mary Odem, 2000 ...

Counterblast: How the Atlanta Temple Bombing Strengthened the Civil Rights Cause

...as forty anti-Semitic groups operating in the South at the time of the black freedom struggle. Some of these organizations promoted their cause exclusively through propaganda. Others took more direct...

Revisiting Flaherty's Louisiana Story

...for the centrality of performance to documentary generally, and not, as Nichols has characterized it, as a recent or "post-modern" development.22Bill Nichols, Blurred Boundaries (Indianapolis: Indiana University Press, 1995): 92-106. To be...

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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