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Slavery's Traces: In Search of Ashley's Sack

...Ruth Middleton made the decision to embroider the words passed down orally through the generations. Who were these women? The most likely candidates for "Rose" and "Ashley" appear among the...

Hurricane Helene Visits Marshall, North Carolina

...blink of an eye. And what lies ahead. Media Videographer Reporting on Flooding. Western North Carolina has long been considered a climate haven. The Southern Appalachian mountains are among the...

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

...of inherited wisdom. The Cuban farmers we met take great pride in the appearance of their plots, and for tourists appearance is a significant selling point. In both countries, the...

Crosses, Flowers, and Asphalt: Roadside Memorials in the US South

...dirt track racers defying death in stripped-down vehicles with high performance engines, the glitz and product promotion of modern day NASCAR, and the window-tinted, stretch-limo world of rap culture. Country...

Memphis: Cotton Fields, Cargo Planes, and Biotechnology

...in the globally competitive biotechnology industry and to attract "knowledge workers" to live and work in Memphis. Focusing on appeals to the "creative class," the city now promotes its rich...

The Podcast and the Police: S‑Town and the Narrative Form of Southern Queerness

...not apply to the space of middle Alabama, let alone to McLemore. But, as someone who originates from Appalachia, Bady uses it interchangeably with "redneck" and other terms that generally...

Back to the Future: Mapping Workers Across the Global South

...Industrial South from "The Industrial South," Fortune Magazine, November 18, 1938. In the US South, industrialists practiced a relentless and severe form of paternalism that appears almost benevolent when compared...

Lift Every Voice and Sing: The Quilts of Gwendolyn Ann Magee

...icon. The spiral elements make their appearance, but in this work they are distorted and their perpetual motion diverted. On first glance, an arched doorway appears to frame rich shadows...

Diversity and Its Discontents: A Review of Behind the White Picket Fence

...to mandate local norms but, because of race and class power, actively do so. The resulting "white codes" dictate appropriate behavior, producing mostly mono-racial social networks and maintaining a high...

Revisiting Flaherty's Louisiana Story

...family or a particular cultural activity. As a result, Flaherty again left himself open to charges of romanticization that regularly appear in discussions of his work.4For their part Ellis and...

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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