It follows residents of New Orleans, including musicians, chefs, Mardi Gras Indians, and ordinary New Orleanians try to rebuild their lives, their homes and their unique culture in the aftermath of the hurricane. The series premiered on HBO on April 11, , with an minute pilot episode, the first of a 10 episode first season.
On April 13, , it was announced that HBO had renewed the show for a second season. The 11 episode second season premiered on April 24, Simon and Overmyer first worked together as writers on the television series Homicide: Life on the Street and became friends.
They collaborated again on Simon's series The Wire when Overmyer joined the crew as a consulting producer and writer in Overmyer lived part-time in New Orleans and Simon believed his experience would be valuable in navigating the "ornate oral tradition" of the city's stories.
Simon initially stated that the series would explore New Orleans culture including and beyond the music scene to encompass political corruption, the public housing controversy, the criminal-justice system, clashes between police and Mardi Gras Indians, and the struggle to regain the tourism industry after the storm.
In HBO commissioned a pilot episode for the series but did not "green-light" a complete series at that time. The pilot was announced at the Television Critics Association summer press tour. Simon initially hoped to film the pilot episode of the series in and to continue filming in if the series was commissioned. All three venues play live music into the dead of night. One Eyed Jacks Toulouse St. Tureaud Ave.
At Snug Harbor Frenchmen St. A little further down on Frenchmen at d. The Apple Barrel hosts local musicians as well, so stop in and drink a Sauza Reposado tequila shaken over ice in remembrance of Coco Robicheaux. Treme producer David Simon, right. Ann Banks. Leave a Reply Cancel reply Your email address will not be published.
Link Text. Open link in a new tab. No search term specified. Showing recent items. Search or use up and down arrow keys to select an item. Moreover, the creators of the program set out to document the experiences of an entire cultural community. To that end, a high percentage of the cast is made up of local residents. And local artists, authors, musicians and film makers have served as inspiration, consultants, and writers on the program.
For example, the character of D. Davis, played by Steve Zhan, is based on New Orleans native Davis Rogan, who also had a small part on the program as a piano player featured in seven episodes. Treme shares also some overlap with reality in that it is also about real events, situations, and opinions that have historically marked the city in the aftermath of Katrina.
For example, the people of New Orleans were vindicated in their conviction that the Army Corp of engineers had failed to strengthen the levees In an interview with the Times Picayune , Simon expresses this with the following:.
By referencing what is real, or historical, a fictional narrative can speak in a powerful, full-throated way to the problems and issues of our time. And a wholly imagined tale, set amidst the intricate and accurate details of a real place and time, can resonate with readers in a profound way.
In short, drama is its own argument This idea is shared by Schaeffer 22 who argues that neither fictional immersion nor emotional investment could exist, i. In view of the strong relationship that exists between fiction and truth in the Treme series, we consider the series genre as a form of Dramatic Realism. Because Treme is located in a specific time and place, some discussion of the term Dramatic Realism is in order.
Realism, realistic, actuality, naturalism, and docudrama are all terms used to describe a sense of the real in narrative television along with secondary terms like authenticity, verisimilitude and simulation.
John Corner has written about the use of realism in television, distinguishing between realism of form and realism of theme. While the first might be more of a verisimilitude: being like the real, the second sense is more referential: being about the real. A useful framework when discussing the ideological constructions of news or documentary forms, for example, when applied to fictional narrative is more concerned with plausibility than factuality.
Realism of form includes the creative components of staging, writing, acting, filming and editing. Realism of theme involves analyzing the social and political circumstances, and it suggests a normative dimension to elements such as characterization and action I n Treme Dramatic Realism is achieved through realism of form in casting, writing, and consulting choices made by the creative directors, David Simon and Eric Overmyer.
Realism of theme is achieved through the selection of social and political scenarios, relationships and action. It is the latter form of realism that is the focus of this study as it allows us to uncover the intention of the producers through a careful analysis of the political and socio-cultural dimensions of the series.
This perspective seeks the authenticity of historical and social everyday facts, whether affective, cognitive or behavioral in fictional representation. Keeping in mind the link between historical truth and fiction, the producers have intended to portray events precisely in a thematic way rather than accurate facts. Thus, we present the incursion of reality into fiction Schaeffer by analyzing the historical truths of Treme Esquenazi through realism of themes Corner.
These broad themes allow us to uncover the political intention of the producers by grouping them into two categories that we label projects. The first is devoted to the political project of the series that denounces the failure and dysfunction of the Bush administration and City Hall in the aftermath of Katrina section 1 ; the second focuses on the economic perspectives of individuals who had to struggle to recover their situation section 2.
Specifically, we rely on three types of data: media discourse, a unique process of characterization, and interviews with the creators. The results demonstrate the essential link between fiction and reality to get viewers to access the political intention the producers articulate in their work. Creators David Simon and Eric Overmyer have been vocal and candid about the writing process and the inspirations that led to their development.
His motivation to help himself, his family and his community to return to the way things were before Katrina is relentless.
He weaves common sense solutions and heartfelt sentiments around a string of obscenities, aimed at a world that refuses to put politics aside for the people they are supposed to serve and protect It refers to the opinions of professor and blogger Ashley Morris 30 who represents the voice of the city. The audience is introduced to Creighton Bernette as he is being interviewed by an Australian journalist on the riverfront in episode 1. The journalist gives voice to questions raised around the world, such as whether the city should be rebuilt, whether the levees were intentionally bombed to flood poor neighborhoods and protect upper class homes, and whether the culture warrants being restored.
He insists that the flooding is due to mistakes made by the federal government Army Corps of Engineers in building the levee system, a system that was supposed to protect its citizens.
Communicating through blogging on the internet gives him the opportunity to express his outrage, to scream his bitterness, and to find a way to exorcise his malaise.
Defending her until death She is another voice expressing the frustration and anger of a community unable to move forward because of the slow response of the Federal Emergency Management Agency FEMA in rebuilding the city. Unfortunately, they became major obstacles to the recovery process and added to the ordeal felt by the New Orleans residents.
Chris Rose refers to the nightmare that people had to endure before starting the recovery process with the following poetry:. In Refrigerator Dome which was temporary home, To the terrified and downtrodden masses, In Refrigerator Dome, the people waited alone While the buses showed up slower than molasses While many people were covered by the Federal Flood Insurance program required by mortgage lenders, those who owned their homes outright or who lived in never-before flooded areas were not required to have flood insurance.
He says they still have to make a determination. If its wind damage they pay one way. If its flood damage they pay another. Many homeowners found that the only coverage they had went to their mortgage lender, leaving no money for repairs This operation was developed by FEMA for the purpose of allowing homeowners to mitigate additional damage resulting from rain by having the U.
While FEMA was willing to pay for the temporary fix, few trustworthy, competent roofers were available. He says,. You know what else I hear? That god damn blue plastic tarp flapping around my roof; I hear it in my sleep. When you gonna start it for real? Lambreaux is a complex character, and it is through him that the audience learns about the public housing situation as well. After learning that his neighbor is squatting in the Calliope Housing Project he visits the project and talks with the security guard hired to watch the buildings.
The security guard says,.
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