The Celebration of the Gone with the Wind
Dublin Core
Title
The Celebration of the Gone with the Wind
Subject
American film; Hollywood
Description
The Celebration of the Gone with the Wind, was published by DRAGON'S WORLD LTD in 1989. The author, Adrian Turner, is a consultant to the National Film Theater and his reviews, interviews and features have appeared in The Guardian, The Times, The Observer, The Radio Times and Time Out. Showcasing numerous screen shots, movie stills, and star portraits, he tells the true story of movie-making in this book, including the dilemmas of casting, conflicts and changes in the production team, financial crises, controversies over race, and the current state of the production crew. About three years elapsed between the publication of Gone with the Wind (1936) and the release of the movie (1939), which won ten Academy Awards and became the most commercially successful film of its time. As a companion volume to Gone with the Wind, the author adds another perspective on the difficulties that lay behind the overwhelming acclaim for the magnificent show that was Gone with the Wind, which was difficult for audiences to see.
This is the catalogue provided with the book.
foreward page 15
the marshes of atlanta page 19
the selznicks of hollywood page 35
the man who would be king page 63
the search for scarlett page 83
the cukor situation, and others page 99
the big show page 123
the legend of gone with the wind page 153
The following is the description of chapter:
foreward page 15：
"Gone with the Wind" is a classic Hollywood romance, historical drama, and a cultural myth that has attracted countless viewers. The significance of "Gone with the Wind" lies not only in its status as a classic Hollywood romance, historical drama, and a cultural myth that has drawn innumerable audiences. Its significance also lies in the fact that the film was completed with the participation of hundreds of people, including multiple directors and screenwriters, and it pays special tribute to the producer David O. Selznick.
the marshes of atlanta page 19：
Tells the story of author Margaret Mitchell's personal experiences and the process of writing this novel. The author, who was bedridden with arthritis, began writing Gone with the Wind for decades, incorporating her personal experiences with elements of both the Old and New South. The story was suspended two-thirds of the way through, and the novel might never have been completed if Harold Latham of Macmillan Publishers hadn't taken a liking to her manuscript. The novel became an immediate bestseller upon publication and won Mitchell the Pulitzer Prize for Fiction, bringing her fame and fortune. However, she soon tired of the celebrity life and retired to a family life. Gone with the Wind became her only published work.
the selznicks of hollywood page35/the man who would be king page 63/he search for scarlett page 83：
It tells of the challenges faced by filmmaker Selznick in addressing racial issues during casting and scripting.Discussing the sensitive treatment of racial themes in the script, Selznick and Howard's decision to remove references to the Ku Klux Klan from the novel in light of contemporary racial attitudes and potential backlash, as well as pressure from the National Association for the Advancement of Colored People (NAACP) regarding the portrayal of black characters.
Casting-wise, for the role of Rhett Butler, Selznick wanted Clark Gable from the start, but Gable had a contract with MGM, and Selznick made a deal with Louis B. Mayer in August 1938: MGM would provide Gable with half of the movie's budget and $1,250,000, in return for which Selznick would have to pay Gable's weekly salary; half of the profits would go to MGM, and MGM's parent company, Loew's, would distribute the movie. (Friedrich 17)
While the casting of the role of Scarlett created a national sensation, Selznick interviewed 1,400 unknowns. The effort cost $100,000, which proved useless for the main goal of casting, but created "priceless" publicity. (Friedrich 17) Selznick initially favored Paulette Goddard for the role of Hoskar, but public moral outrage over her relationship with Charlie Chaplin forced him to reconsider.
The complex interplay of public opinion, Hollywood politics, and personal relationships during the making of Gone with the Wind made Lee's casting the defining moment of the movie.
The Sydney Morning Herald commented“The actors have been well chosen and theyplay their parts with sincerity and abandon.”（“FILM REVIEWS.” 5）This comment reflects that Selznick received positive feedback for his casting choices.
the cukor situation, and others page 99：
This chapter describes the difficulties in the early stages of the filming of the movie Gone with the Wind. Selznick was exacting in the production details of the movie, such as the script, costumes, and cinematography.
Selznick became concerned about director George Cukor's slow pace of work and attention to detail and began to interfere with the script and directorial decisions, which led to tension with Cukor. Meanwhile, star Clark Gable became uncomfortable with Cook's directing style, and Cook was eventually dismissed from the film, with Cook being replaced by Victor Fleming. In his quest for bright colors, cinematographer Lee Garms was fired. The gorgeous stills included in the book also reflect the "Golden Age" of Hollywood filmmaking that the movie represents, which included large set pieces, numerous extras, elaborate costumes, and laborious set construction. But the movie went over budget, and Selznick had to find additional funding to keep the production going.
the big show page 123：
This section describes the previews and premieres of Gone with the Wind and its successes and controversies. Gone with the Wind broke attendance records everywhere it was released. At the Capitol Theater in New York alone, an average of 11,000 people were admitted per day at the end of December. (Schatz 65) Pictures showed the crowded crowds and movie ticket stubs at the previews. This grand event received great attention and critical acclaim. However, the movie faced some controversy, especially the inclusion of the word "damn" in Rhett Butler's famous line, but Selznick successfully defended it.
The legend of gone with the wind page 153：
This chapter reviews the impact of Gone with the Wind on the subsequent lives of key players after its completion in 1939. Examples include Producer David O. Selznick and leading cast members like Clark Gable, Vivien Leigh, and Olivia de Havilland.Additionally, the film's financial success did not entirely benefit Selznick, despite the fact that it generated a significant profit.It explores the relationship between the changing fortunes of the individuals involved in its production and the evolution of the Hollywood film industry.
Gone with the Wind is not only an epic story of the American South and the Civil War, it is also a reminder of the Golden Age of Hollywood, exemplifying the artistic and cultural values of the era's filmmaking. In terms of production art, Gone with the Wind is widely regarded as a high point in Hollywood cinema, demonstrating a style of filmmaking that no longer exists. Its scale of production, storytelling and visual effects were at an unprecedented level for the time. The use of color and camera techniques involved a great deal of innovation and experimentation. The records related to the production process mentioned in the book, including draft scripts, director's and actor's notes, design drawings, photographic negatives, etc., have provided invaluable information for subsequent film studies and archival preservation. Culturally, although Gone with the Wind may be criticized today for its treatment of racial issues and its romanticization of Southern history（Lumenick）, it remains an important window into American history, particularly the Civil War and Reconstruction periods, and these depictions have shaped the public's memories and understandings of this period of history, providing a more holistic historical perspective for later researchers to come. In short, Gone with the Wind is not only an artistic and technical landmark, but also an important cultural icon in the history of Hollywood cinema that has had an impact far beyond the movie itself.
Works Cited
“FILM REVIEWS.” Sydney Morning Herald, 6 May 1940, trove.nla.gov.au/newspaper/article/17684995#. Accessed 13 Dec. 2023.
Friedrich, Otto, and Internet Archive. “City of Nets : A Portrait of Hollywood in the 1940’S.” Internet Archive, Berkeley : University of California Press, 1997, archive.org/details/cityofnetsportra00frie/page/16/mode/2up. Accessed 13 Dec. 2023.
Lumenick, Lou. “‘Gone with the Wind’ Should Go the Way of the Confederate Flag.” New York Post, 24 June 2015, nypost.com/2015/06/24/gone-with-the-wind-should-go-the-way-of-the-confederate-flag/.
Schatz, Thomas. “Boom and Bust: American Cinema in the 1940s.” Www.ucpress.edu, 1999, www.ucpress.edu/book/9780520221307/boom-and-bust. Accessed 13 Dec. 2023.
This is the catalogue provided with the book.
foreward page 15
the marshes of atlanta page 19
the selznicks of hollywood page 35
the man who would be king page 63
the search for scarlett page 83
the cukor situation, and others page 99
the big show page 123
the legend of gone with the wind page 153
The following is the description of chapter:
foreward page 15：
"Gone with the Wind" is a classic Hollywood romance, historical drama, and a cultural myth that has attracted countless viewers. The significance of "Gone with the Wind" lies not only in its status as a classic Hollywood romance, historical drama, and a cultural myth that has drawn innumerable audiences. Its significance also lies in the fact that the film was completed with the participation of hundreds of people, including multiple directors and screenwriters, and it pays special tribute to the producer David O. Selznick.
the marshes of atlanta page 19：
Tells the story of author Margaret Mitchell's personal experiences and the process of writing this novel. The author, who was bedridden with arthritis, began writing Gone with the Wind for decades, incorporating her personal experiences with elements of both the Old and New South. The story was suspended two-thirds of the way through, and the novel might never have been completed if Harold Latham of Macmillan Publishers hadn't taken a liking to her manuscript. The novel became an immediate bestseller upon publication and won Mitchell the Pulitzer Prize for Fiction, bringing her fame and fortune. However, she soon tired of the celebrity life and retired to a family life. Gone with the Wind became her only published work.
the selznicks of hollywood page35/the man who would be king page 63/he search for scarlett page 83：
It tells of the challenges faced by filmmaker Selznick in addressing racial issues during casting and scripting.Discussing the sensitive treatment of racial themes in the script, Selznick and Howard's decision to remove references to the Ku Klux Klan from the novel in light of contemporary racial attitudes and potential backlash, as well as pressure from the National Association for the Advancement of Colored People (NAACP) regarding the portrayal of black characters.
Casting-wise, for the role of Rhett Butler, Selznick wanted Clark Gable from the start, but Gable had a contract with MGM, and Selznick made a deal with Louis B. Mayer in August 1938: MGM would provide Gable with half of the movie's budget and $1,250,000, in return for which Selznick would have to pay Gable's weekly salary; half of the profits would go to MGM, and MGM's parent company, Loew's, would distribute the movie. (Friedrich 17)
While the casting of the role of Scarlett created a national sensation, Selznick interviewed 1,400 unknowns. The effort cost $100,000, which proved useless for the main goal of casting, but created "priceless" publicity. (Friedrich 17) Selznick initially favored Paulette Goddard for the role of Hoskar, but public moral outrage over her relationship with Charlie Chaplin forced him to reconsider.
The complex interplay of public opinion, Hollywood politics, and personal relationships during the making of Gone with the Wind made Lee's casting the defining moment of the movie.
The Sydney Morning Herald commented“The actors have been well chosen and theyplay their parts with sincerity and abandon.”（“FILM REVIEWS.” 5）This comment reflects that Selznick received positive feedback for his casting choices.
the cukor situation, and others page 99：
This chapter describes the difficulties in the early stages of the filming of the movie Gone with the Wind. Selznick was exacting in the production details of the movie, such as the script, costumes, and cinematography.
Selznick became concerned about director George Cukor's slow pace of work and attention to detail and began to interfere with the script and directorial decisions, which led to tension with Cukor. Meanwhile, star Clark Gable became uncomfortable with Cook's directing style, and Cook was eventually dismissed from the film, with Cook being replaced by Victor Fleming. In his quest for bright colors, cinematographer Lee Garms was fired. The gorgeous stills included in the book also reflect the "Golden Age" of Hollywood filmmaking that the movie represents, which included large set pieces, numerous extras, elaborate costumes, and laborious set construction. But the movie went over budget, and Selznick had to find additional funding to keep the production going.
the big show page 123：
This section describes the previews and premieres of Gone with the Wind and its successes and controversies. Gone with the Wind broke attendance records everywhere it was released. At the Capitol Theater in New York alone, an average of 11,000 people were admitted per day at the end of December. (Schatz 65) Pictures showed the crowded crowds and movie ticket stubs at the previews. This grand event received great attention and critical acclaim. However, the movie faced some controversy, especially the inclusion of the word "damn" in Rhett Butler's famous line, but Selznick successfully defended it.
The legend of gone with the wind page 153：
This chapter reviews the impact of Gone with the Wind on the subsequent lives of key players after its completion in 1939. Examples include Producer David O. Selznick and leading cast members like Clark Gable, Vivien Leigh, and Olivia de Havilland.Additionally, the film's financial success did not entirely benefit Selznick, despite the fact that it generated a significant profit.It explores the relationship between the changing fortunes of the individuals involved in its production and the evolution of the Hollywood film industry.
Gone with the Wind is not only an epic story of the American South and the Civil War, it is also a reminder of the Golden Age of Hollywood, exemplifying the artistic and cultural values of the era's filmmaking. In terms of production art, Gone with the Wind is widely regarded as a high point in Hollywood cinema, demonstrating a style of filmmaking that no longer exists. Its scale of production, storytelling and visual effects were at an unprecedented level for the time. The use of color and camera techniques involved a great deal of innovation and experimentation. The records related to the production process mentioned in the book, including draft scripts, director's and actor's notes, design drawings, photographic negatives, etc., have provided invaluable information for subsequent film studies and archival preservation. Culturally, although Gone with the Wind may be criticized today for its treatment of racial issues and its romanticization of Southern history（Lumenick）, it remains an important window into American history, particularly the Civil War and Reconstruction periods, and these depictions have shaped the public's memories and understandings of this period of history, providing a more holistic historical perspective for later researchers to come. In short, Gone with the Wind is not only an artistic and technical landmark, but also an important cultural icon in the history of Hollywood cinema that has had an impact far beyond the movie itself.
Works Cited
“FILM REVIEWS.” Sydney Morning Herald, 6 May 1940, trove.nla.gov.au/newspaper/article/17684995#. Accessed 13 Dec. 2023.
Friedrich, Otto, and Internet Archive. “City of Nets : A Portrait of Hollywood in the 1940’S.” Internet Archive, Berkeley : University of California Press, 1997, archive.org/details/cityofnetsportra00frie/page/16/mode/2up. Accessed 13 Dec. 2023.
Lumenick, Lou. “‘Gone with the Wind’ Should Go the Way of the Confederate Flag.” New York Post, 24 June 2015, nypost.com/2015/06/24/gone-with-the-wind-should-go-the-way-of-the-confederate-flag/.
Schatz, Thomas. “Boom and Bust: American Cinema in the 1940s.” Www.ucpress.edu, 1999, www.ucpress.edu/book/9780520221307/boom-and-bust. Accessed 13 Dec. 2023.
Creator
Author:Turner, Adrian
Designed by Julie and Steve ridgeway
Assisted by Dolores Mc Cormack
Managing editor Pippa Rubinstein
Typeset by Bookworm
Designed by Julie and Steve ridgeway
Assisted by Dolores Mc Cormack
Managing editor Pippa Rubinstein
Typeset by Bookworm
Source
Book:Gone with the wind（1936）
Film:Gone with the wind（IMDb:tt0031381）
Film:Gone with the wind（IMDb:tt0031381）
Publisher
DRAGON'S WORLD LTD
Date
First published by Dragon’s world（1989）
Contributor
Zhiying Peng
Rights
© DRAGON'S WORLD 1989
© 1939 SELZNICK REN. 1967 MGM
© TURNER ENTERTAINMENT CO. 1989
© TEXT ADRIAN TURNER 1989
ALL RIGHTS RESERVED
© 1939 SELZNICK REN. 1967 MGM
© TURNER ENTERTAINMENT CO. 1989
© TEXT ADRIAN TURNER 1989
ALL RIGHTS RESERVED
Format
book
Item Height 310mm
Item Width 254mm
Item Weight 2g
Item Height 310mm
Item Width 254mm
Item Weight 2g
Language
English
Type
text
Identifier
ISBN 1 85028 088 6
Coverage
1861-1870, Southern United States, especially Georgia and Atlanta.
Text Item Type Metadata
Text
Film Production Process
Original Format
screenshot/still/photo
Files
Collection
Citation
Author:Turner, Adrian
Designed by Julie and Steve ridgeway
Assisted by Dolores Mc Cormack
Managing editor Pippa Rubinstein
Typeset by Bookworm , “The Celebration of the Gone with the Wind,” Archival Encounters: Digital Exhibitions form the Bill Douglas Cinema Museum, accessed January 15, 2025, https://humanities-research.exeter.ac.uk/archivalencounters/items/show/28.