The 'Gone With The Wind' House Is Finally Getting The …

Mitchell, Margaret. Gone with the Wind. New York: Macmillan Publishing Co., 1936.

Gone with the Wind Essay - 880 Palabras | Cram

This is a silence with depth and layers that are unbroken even by the wind, which moves through emptiness and speaks only in occasional sighs through the canyons.

Molt, Cynthia Marylee. Gone with the Wind on Film: A Complete Reference. Jefferson, NC: McFarland & Company, 1990.

Free Example - Gone With The Wind Essay | Sample

Gone with the Wind is a historical film in every sense of the word. The story, adapted from Margaret Mitchell’s beloved Pulitzer Prize-winning 1936 novel, delves into a romantic period of American history, portraying the Civil War from the losing side’s perspective. Released in 1939, this pinnacle of Golden Age filmmaking glossed over much of the setting’s inherent, problematic racial themes, not only because its sentimentalism toward the Old South comes directly from Mitchell’s novel, but because the period in which it was made was not above depicting stereotypes and ignoring certain unfortunate historical truths. The film was championed by producer David O. Selznick, who perfected the Hollywood buzz machine by making every facet of the film’s production a topic of conversation for the media and public. His efforts proved unbelievably triumphant, as his film sold more tickets than any other blockbuster before or since. It remains the most seen film in cinema history, not only because Selznick produced a monumental motion picture of immaculate quality, but because he knew how to sell it as an event. And though everything worth saying about the film has already been said or written before, we keep talking and writing about it because it demands to be remembered.

Gone with the Wind is a novel by American writer Margaret Mitchell, first published in 1936

Of course, though gender assignments and sexuality play intuitive roles in the film, the sweeping production fulfills both our intellectual and emotional desires by way of pure visual spectacle. The evacuation of Atlanta alone required thousands of extras, all seen as the camera, rising to capture the rushing horde, frames the scene without ever losing Scarlett. When Atlanta later burns, flames mount to enclose silhouettes of Rhett guiding the carriage through chaos, framing an image that could almost be mistaken for rotoscope animation. Or take the recurring composition where the camera pulls back on a foreground silhouette to reveal a middle layer matte painting, most often of Tara, the O’Hara family plantation, and a background photograph of an impossibly blazing sky, all sounding in unison with Max Steiner’s score. Used not only to denote the passage from one chapter to the next, this shot also closes out the film with a certain grandiose classicism. And then the colors, bright and prosperous pastels in the opening barbeque sequence, but then more complicated with rich, deep colors, deeper shadows, and a substance into the image itself as the story progresses. Not unlike released just one year before, colors and their increasingly high contrasts throughout make viewing Gone with the Wind an experience of color as it relates to emotion in service of the story, and one augmented all the more with Technicolor.

On this day in 1936, Margaret Mitchell's Gone with the Wind was published