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Bioregional Approach to Southern History: The Yazoo-Mississippi Delta

...Yazoo-Mississippi Delta, Social Research Report Series 93–95 (Mississippi State: Social Science Research Center of Mississippi State University, 1993), 15. Marty Bahamonde, FEMA image of New Orleans after Hurricane Katrina, 2005. Even...

Southern Spaces: A Partial History

1926 Pharus Map of Berlin, Andrew Battista’s "Spatial Humanities and Modes of Resistance: a Review of Hypercities," September 15, 2015. Screenshot courtesy of Southern Spaces. Beginnings How did you become...

Something True about Louisiana: HBO's True Detective and the Petrochemical America Aesthetic

...a genre called Louisiana apocalyptic noir.3Each Louisiana-based HBO depiction offers smart and problematic depictions. Treme, particularly, lovingly (and perhaps cruelly) recreates the immediate years after Katrina, from drooping ceiling fans...

References
1.	Duck Dynasty, a reality show about a family in the duck call industry, is not only a voyeuristic show about poor country living in Louisiana, but one whose subjects are actually wealthy, performing poverty and capitalizing on nostalgia for old-fashioned living.
2.	Richard Misrach and Kate Orff, Petrochemical America (New York: Aperture Foundation, 2012), Plate 20, page 50. Patrick Clair, the director of the title sequence, pitched the aesthetic of Petrochemical America explicitly to HBO when presenting his vision for True Detective's opener. See Patrick Clair and Jennifer Sofio Hall, "True Detective: Opening Title Sequence Concept," (Proposal presented at the Original pitch proposal produced by Elastic.tv and Antibody for the title sequence from True Detective, March 9, 2014), http://www.scribd.com/doc/211405775/Original-Pitch-for-Title-Sequence-from-True-Detective.
3.	Each Louisiana-based HBO depiction offers smart and problematic depictions. Treme, particularly, lovingly (and perhaps cruelly) recreates the immediate years after Katrina, from drooping ceiling fans in flooded homes to the talismanic power of normal work and local music to get through the grief. What stands out in True Detective is its uncanny evocation of southern Louisiana: a place simultaneously real and unreal.
4.	Michelle Lanz, "'True Detective': How the opening titles came together, what they mean,'" Take Two, Southern California Public Radio (March 9, 2014), http://www.scpr.org/programs/take-two/2014/03/09/36373/hollywood-jobs-crafting-the-opening-titles-for-tru/.
5.	Ottinger writes, "The authors are unable to present a more coherent account of what change might look like, I believe, because of an important omission from the main substance of the book: people." Gwen Ottinger, Ellen Griffith Spears, Kate Orff, and Emma Lirette, "Petrochemical America, Petrochemical Addiction," Southern Spaces (November 26, 2013), https://southernspaces.org/2013/petrochemical-america-petrochemical-addiction.
6.	This is one of the few photographs not part of Cancer Alley.
7.	Misrach and Orff, Petrochemical America, Plate 17.
8.	The media firm commissioned for the True Detective sequence, Elastic—in coproduction with Antibody—is the same one that put together the decidedly cartographic opener for HBO's Game of Thrones, a pseudo-medieval fantasy that spans a massive and intricately mapped world based on George R. R. Martin's A Song of Ice and Fire series.
9.	Cary Joji Fukunaga, "The Long Bright Dark," True Detective (HBO, January 12, 2014), Episode 1.
10.	Cary Joji Fukunaga, "Who Goes There," True Detective (HBO, January 12, 2014), Episode 4.
11.	The projects, which diegetically seem to be in Beaumont or Houston, are actual government subsidized housing in Westwego, a suburb of New Orleans.
12.	Cary Joji Fukunaga, "The Locked Room," True Detective (HBO, January 12, 2014), Episode 3.
13.	Fukunaga, "The Long Bright Dark."
14.	Ibid.
15.	Fukunaga, "The Locked Room."
16.	See Emily Nussbaum's scathing critique of the gender politics of True Detective: "Cool Story, Bro: The Shallow Deep Talk of 'True Detective,'" the New Yorker, March 3, 2014, http://www.newyorker.com/arts/critics/television/2014/03/03/140303crte_television_nussbaum.
17.	Fukunaga, "The Locked Room."
18.	Carcosa, the lair, was shot at Fort Macomb, which was raised in 1822 and abandoned in 1871. See Ella Morton, "The Real Location of True Detective's Carcosa," Atlas Obscura, Slate, March 11, 2014, http://www.slate.com/blogs/atlas_obscura/2014/03/11/here_s_the_real_location_of_true_detective_s_carcosa.html.
19.	Cary Joji Fukunaga, "Form and Void," True Detective (HBO, March 9, 2014), Episode 8.
20.	Louisiana Motion Picture Tax Incentive Act, LA Revised Statutes, 47:1121; 47:1125; 47:1125.1, 1990, 2002. The attractive tax credits can be found in sections 1125 and 1125.1, which were first enacted in 2002.
21.	Marisela Burgos, "Behind the Scenes of the New TV Show 'Salem,'" Fox59, March 14, 2014, http://fox59.com/2014/04/14/behind-the-scenes-of-the-new-tv-show-salem/.
22.	Director Cary Fukanaga, on the other hand, is from California's Bay Area, and is known for two major films that are polar opposites in genre and tone: Jane Eyre, a film adaptation of Charlotte Brontë's 1847 bildungsroman/romance novel; and Sin Nombre, a movie about two young people trying to escape gang violence in Honduras. His upcoming projects include Beasts of No Nation about revolution in a western African country and an adaptation of Stephen King's It. Apparently he prepared for True Detective by spending time with a Louisiana homicide detective and his outlaw cousin: "True Director," Interview, June 2014, http://www.interviewmagazine.com/culture/cary-fukunaga-true-detective/.
23.	Patricia Yaeger, "Beasts of the Southern Wild and Dirty Ecology," Southern Spaces, February 13, 2013, https://southernspaces.org/2013/beasts-southern-wild-and-dirty-ecology.

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