Propaganda And Racial Profiling In Film
Propaganda and Racial Profiling In the Film Gone With The Wind Popular modern film has developed in such a way that propaganda and racial issues plague the screen. Gone With The Wind is a popular example of a film that has been affected by these malpractices. The film, released in theaters in 1939, has gone down in history as one of the most successful and well-known movies of all time. One specific article on listverse.com calls Gone With The Wind a “romanticized portrayal of the South during and after the Civil War.” In light of its success, the negative depiction of African Americans in the film has drawn much attention from critics over the years. In this project I will first discuss the films success and general plotline as applied
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to my argument. Second, I will apply my first scholarly source to analyze stereotyping in film and its various effects. Next, my argument is directed specifically toward the character Mammy and her negative portrayal in the story. Fourth, I will consider the publics initial reaction to the film followed by a discussion of its enduring popularity and the unique aspects it’s made up of. Finally, I reflect on alternative characteristics that are found in Gone With The Wind such as propaganda and feminism. Upon release in 1939, Gone With The Wind was a wild success. The film was modeled after the 1936 Pulitzer Prize winning novel written by Margaret Mitchell. The film owes much of its success to its award-winning cast. At the Academy Awards held in 1940, the film won a total of ten Academy Awards from thirteen nominations. This feat sent Gone With The Wind into the history books. The film also became the highest-earning film up to that point, and after being adjusted for inflation, the film remains the most successful in box office history. After reviewing Gone With The Wind’s impressive success, it’s unfortunate that the film must implicate racial stereotypes. If anything, the success of the film proves that modern society overlooks these profiles as acceptable and normal. The plot of the movie is centered around the 19th-century American South. It follows the life of Scarlet O’Hara and her romanticism with Ashley Wilkes. Wilkes is a soon-to-be married man, yet Scarlet refuses to give up. She plans to throw herself at Ashley at the upcoming Twelve Oaks barbeque. Despite this overlying conflict, the racism and controversy of the film falls in with the character Mammy. Mammy is Scarlet’s faithful servant, and she is displayed as dependent and subservient to her white owners. Furthermore, this elaborate plot almost amplifies the profiling that occurs throughout the movie. Mammy is certainly the prime subject of such racism, but the black population is afflicted as a whole as well. With such an intricate web of events, stereotyping was not truly necessary. One scholarly source, written by Matthew Hughey, titled “Cinethetic Racism” analyzes the trend of African American racial profiling in cinema.
The article begins by stating that modern film production has become progressive in nature. The article specifically mentions a type of film dubbed the “magical negro” film. This type of cinema harps on lower-class uneducated black characters that transform and influence broken white characters around them. Hughey remarks that in a sense, these films actually do well to praise these black characters rather than racially profile them. The issue with such practice arises when the viewer analyzes the situation the black characters are often placed in. In order for these characters to rise to the occasion, they are usually placed in subservient positions where their white counterparts are racially superior. Unfortunately, cinema of this type simply reaffirms racial stereotypes by placing blacks in the lower rungs of …show more content…
society. In addition to his argument, Matthew Hughey writes “The narratives of these films thereby subversively reaffirm the racial status quo and relations of domination by echoing the changing and mystified forms of contemporary racism rather than serving as evidence of racial progress or a decline in the significance of race.” In this quote, Hughey elaborates on the constant significance of race. Films such as Gone With The Wind redistribute the ideas of racism rather than support an advance in the idea of equality. Racial progress is stunted and virtually reversed because of this redistribution. It is my firm belief that if media sends out positive messages, positive results will follow. The influence of media, especially film, is often underestimated. It’s this underestimation that allows racism and other negative ideals to stand their ground and flourish. Furthermore, the insight and information provided through this scholarly source points directly to the character Mammy in the film Gone With The Wind. Mammy is Scarlet’s childhood nurse who also served Scarlet’s mother. Mammy’s defining quality is her extreme loyalty to her masters. To Scarlet, Mammy also serves as a figurehead, a constant reminder of the Old South. The black characters in the film, especially Mammy, are absurdly plain and painfully subservient. The white women of the film are displayed as strong willed, independent and complex. These two character sets are nearly polar opposites. Granted, the intelligence of characters such as Mammy is asserted and clearly displayed, yet stereotypical tendencies are still heavily used. Her intelligence lies in her wise advice. Mammy is portrayed as the “old sage” of the film despite her unappealing position. Janelle Collett, the author of Romanticizing The Old South, comments that the characterization of Mammy is actually somewhat unrealistic. Film historian Edward Campbell reported, “slaves portrayed in the films of the early twentieth-century led pleasantly uncomplicated lives.” Despite Mammy’s importance to Scarlet in the film, she is still considered a minor stereotyped character who “lives in happy complacency.” The largest racial issue of the film in respect to Mammy is her dependency. The film portrays blacks in general as unintelligent, even foolish people. Gone With The Wind also shows blacks as unfailingly loyal slaves who are unfit to support themselves. The movie even goes so far as to imply that blacks are happiest when put under the supervision and ownership of powerful white men. Additionally, an article written by Leonard J. Leff further analyzes the African American dilemma in the film, again with specific regards to Mammy. The article, titled “Gone With The Wind and Hollywood’s Racial Politics”, breaks down the insecurity and blatant racism involved in the screenplay of the film. Leonard Leff backs up previous scholarly articles when he writes “She had, for example, depicted her leading black characters as content with slavery, uninterested in freedom.” Leff also states that the African Americans in the film “often seemed more like pets than people.” He continues his argument by categorizing the blacks in the film as “good blacks” and “bad blacks”. The “good blacks” worked tirelessly with smiling faces while they admired their white masters. Mammy (a “good black”), who Leff classifies as “one of the strongest characters in the novel”, lacks any sort of direction or capability without the guidance of her owners. Leff further analyzes Mammy by stating, “her mind was too simple, not yet fully evolved.” On the other hand, the “bad blacks” were unruly, unprotected and uneducated. These characters were dubbed as “black apes who committed outrages on women”. Even the “good blacks”, their fellow slaves, referred to them as “niggers”. In continuance of his argument, Leff also addresses the publics reaction to the film, especially that of the African American population. According to Leff, black organizations across the country caught wind of the films production by the spring of 1937. Immediately these organizations protested, claiming that Gone With The Wind constituted an acceptance of slavery and the mistreatment of blacks in general. A letter from an east coast organization reads “We consider this work to be a glorification of the old rotten system of slavery, propaganda for race-hatreds and bigotry, and incitement of lynching.” Leff continues his argument with the suggestion that African Americans were not only outraged by the films continued production, but that they were genuinely afraid of it. Ultimately, the black population abhorred the idea of a seemingly anti-negro novel making its way onto the big screen. Despite the overlying racism and elaborate issues that make up the epic film, their are further aspects to consider. One such aspect is the enduring popularity that the movie has enjoyed over the past decades. An article published on sparknotes.com elaborates on this phenomenon and analyzes the possible reasons behind the films success. The article begins by addressing the rough patches that have been unveiled over the years. The films blatant racism and “emotional cliffhangers” certainly give the film an old-fashioned feel. The article reads “the film…served more as the end of a cinematic era than the start of a new one.” An additional factor in the smash success is the timeless elements that serve as lasting icons. Each character comes complete with their own set of imperfections and triumphs over various adversities. The final aspect the article suggests is the perfection of the story telling done through the film. Emotional tension, complication, love and hardship all tie together to make Gone With The Wind a timeless and magnificent story. Likewise, further reports on the film and its initial release provide a look into the history of the movies establishment.
A 1939 New York Times article authored by Frank S. Nugent (written the day after the movie release) offers an array of detail that was otherwise lost in many modern analyses of the film. One unique argument this article has to offer is that the film is extremely unlike its Hollywood predecessors. Arguments made by authors such as Adorno and Zinn infer that Hollywood productions are recycled from old ideas, and are, in general, anything but unique. The characterization in the film as well as its intricacy clearly set it apart from run-of-the-mill productions. From the start, critics and journalists alike realized the significance of the movie and its impact on societal views. Nugent calls the film “the greatest motion mural we have seen and the most ambitious film-making venture in Hollywood’s spectacular history.” The first aspect that sets the film apart from typical Hollywood ventures is its impeccable following of the book. The New York Times claims that the cinematic version of Gone With The Wind matches the novel “almost scene for scene with a literalness that not even Shakespeare or Dickens were accorded in Hollywood.” Secondly, Frank Nugent commends the producers of the film on their tremendous bravery. He writes, “To have treated so long a book with such astonishing fidelity required courage.” Granted, Nugent does infer that certain minor flaws
existed as far as the plotline went, however they held little to no noticeable effect. Lastly, the article addresses the superb casting as the final key to the movies success. After observing multiple commentaries on the films methods of casting, I have come to realize what makes it click so perfectly. The films perspectives and filming are nothing out of the ordinary, but the depth of the cast is truly spectacular. Each character fits their role with an amazing accuracy whereby the film is noticeably more relatable. This intense precision is what keeps the viewers attention in such a significant check. A second scholarly source titled “International Film and Television Propaganda: Campaigns of Assistance” analyzes the transformation of modern propaganda. The author, Bernard Rubin, writes “A key change which highlights the turn away from “hard” propaganda comes from increasing acceptance of the premise that the best results come from campaigns of assistance and not from campaigns of assault.” It’s the use of propaganda through films such as Gone With The Wind that Bernard Rubin refers to in this article. Rather than confronting its viewer’s head on, cinematic propaganda is subtle and often unique in its approach. Rubin continues to suggest that motion pictures, especially on an international scale, aim to introduce “noxious social ideas” such as racial stereotyping. He then explains how mass media tends to affect the viewers behaviors, especially so far as our personal views and relationships go. Gone With The Wind is certainly guilty of such propaganda usage, especially through the device often dubbed as “plain folks”. As stated by macresource.com, propagandists use this device in order to convince their audience that a certain character or group of characters come from “humble origins”. Through these origins, the respective characters gain appeal and the viewer gains trust for the presented figure. Beyond such appeal, the viewers feel as though these characters resonate with them and have their best interests at heart. Gone With The Wind applies “plain folks” to the white characters such as Scarlett, Rhett and Ashley. In support of this propaganda device, it is true that I, a middle class white male, certainly tie more to these characters than to the black slaves such as Mammy. Toward the end of his argument, Rubin states, “In a significant way, film propaganda constitutes schooling in development.” Our attitudes toward race and other social issues are directly affected by what we watch, even when it comes to our cinematic enjoyments. Specifically, the social issue of feminism is also alluded to throughout the film Gone With The Wind. An online article titled Romanticizing The Old South by Janelle Collett (the same article mentioned earlier in this paper) discusses feminist ideals incorporated in the making of Gone With The Wind. Collett writes that the film “is the story of a woman of great strength overcoming all odds to care for her family and herself.” The strength and willpower of characters such as Scarlett and Ellen is admirable and untraditional among “plantation literature of the 1830’s, 1840’s and 1850’s.” Janelle Collett also references the Great Depression and its effects on women during the movies time of release. She goes on to suggest that the resiliency of women in the film certainly inspired the viewers of the time in more ways than one. On the other hand, a scholarly article titled Scarlett O’Hara as Feminist: The Contradictory, Normalizing Force of Law and Culture addresses feminism in the film on a completely opposite spectrum. The article, written by Julie M. Spanbauer, scrutinizes the films feminism in a negative light, particularly with regards to the character Scarlett. Spanbauer suggests that most feminists find the female characters, especially Scarlett, “at best irritating, and at worst, despicable.” She expands her argument writing that the film takes all popular female stereotypes and applies them pessimistically. According to the article, Scarlett herself lacks emotional depth and the ability to self-reflect, both of which are considered typical female attributes. The viewer mustn’t delve deep into the films detail to realize that women characters, despite their strength, are cynical and shallow. I argue that Julie M. Spanbauer’s analysis is more accurate and thorough than that of Janelle Collett’s. Collett merely brushes the surface of Scarlett’s characterization while Spanbauer looks past that and realizes the true implications of the film. After a complete analysis and break down of the film, it is clear that the overall experience of Gone With The Wind is not one to be considered lightly. The film, centered around an engulfing image of the romanticized Old South, is still considered to be one of the greatest cinematic accomplishments of recent times. A unique plotline, unnerving stereotypes, complex characters, propaganda devices, and feminist ideals all come together to form what is truly a timeless masterpiece. Alternative aspects of the film such as its everlasting success and tremendous social influence are also qualities that must be heavily examined. Unfortunately, features such as the negative depiction of African Americans have caused the movie some flack, especially in recent years. Other considerations such as the use of feminism have been analyzed from various angles, both positive and negative. All in all, Gone With The Wind is certainly a film to be talked about, and its legacy will surely live on for years to come.
Rubin, Bernard. "International Film and Television Propaganda: Campaigns of Assistance." Annals of The American Academy of Political and Social Science. N.p.: Sage Publications, 1971. 81-92. JSTOR. Web. Nov. 2013. Bernard Rubin discusses propaganda implemented through film and its tremendous influence on societal tendencies. He explains how film and television alike and relatively new to society and how their uses are respectively changing. The film Gone With The Wind influences our feelings toward Mammy and the other black characters through the use of the propaganda device “plain folks”. The propaganda devices themselves are used to support the racial tendencies of the film directly.
Hughey, Matthew W. "Cinethetic Racism: White Redemption and Black Stereotypes in "Magical Negro" Films." JSTOR. JSTOR, Aug. 2009. Web. Nov. 2013. Matthew Hughey writes on racism in film production. He discusses the general racial tendencies behind movie themes and plotlines. He also alludes to the fact that African American characters in movies are put into rough situations where they are typically subservient. Even if black characters in film are able to rise above the racism presented, they must go through hell to do so. Hughey continues his argument by explaining the idea behind “magical negro films”. These films take lower class, uneducated black characters and place them in a situation where they help to better disheveled white characters. The character Mammy in Gone With The Wind does just that by providing counsel to Scarlett and her family. Although Mammy is intelligent and generally respected, she is placed in a subservient position where she is at the mercy of her white masters.
Further Citations
Van Duisen, Michael. "Top 10 Racist Movies Of All Time." Listverse. N.p., 11 Nov. 2013. Web. 03 Dec. 2013.
Collett, Janelle. "Romanticizing The Old South: A Feminist, Historical Analysis of Gone With The Wind." Feminist.com. N.p., n.d. Web. 05 Dec. 2013.
Leff, Leonard J. ""Gone With the Wind" and Hollywood 's Racial Politics - 99.12."www.theatlantic.com. N.p., Dec. 1999. Web. 05 Dec. 2013.
Nugent, Frank S. "The Screen In Review." The New York Times. The New York Times, 13 Aug. 2004. Web. 05 Dec. 2013.
Spanbauer, Julie M. "Scarlett O 'Hara As Feminist: The Contradictory, Normalizing Force of Law and Culture." Research Online. N.p., n.d. Web. Nov. 2013.
to my argument. Second, I will apply my first scholarly source to analyze stereotyping in film and its various effects. Next, my argument is directed specifically toward the character Mammy and her negative portrayal in the story. Fourth, I will consider the publics initial reaction to the film followed by a discussion of its enduring popularity and the unique aspects it’s made up of. Finally, I reflect on alternative characteristics that are found in Gone With The Wind such as propaganda and feminism. Upon release in 1939, Gone With The Wind was a wild success. The film was modeled after the 1936 Pulitzer Prize winning novel written by Margaret Mitchell. The film owes much of its success to its award-winning cast. At the Academy Awards held in 1940, the film won a total of ten Academy Awards from thirteen nominations. This feat sent Gone With The Wind into the history books. The film also became the highest-earning film up to that point, and after being adjusted for inflation, the film remains the most successful in box office history. After reviewing Gone With The Wind’s impressive success, it’s unfortunate that the film must implicate racial stereotypes. If anything, the success of the film proves that modern society overlooks these profiles as acceptable and normal. The plot of the movie is centered around the 19th-century American South. It follows the life of Scarlet O’Hara and her romanticism with Ashley Wilkes. Wilkes is a soon-to-be married man, yet Scarlet refuses to give up. She plans to throw herself at Ashley at the upcoming Twelve Oaks barbeque. Despite this overlying conflict, the racism and controversy of the film falls in with the character Mammy. Mammy is Scarlet’s faithful servant, and she is displayed as dependent and subservient to her white owners. Furthermore, this elaborate plot almost amplifies the profiling that occurs throughout the movie. Mammy is certainly the prime subject of such racism, but the black population is afflicted as a whole as well. With such an intricate web of events, stereotyping was not truly necessary. One scholarly source, written by Matthew Hughey, titled “Cinethetic Racism” analyzes the trend of African American racial profiling in cinema.
The article begins by stating that modern film production has become progressive in nature. The article specifically mentions a type of film dubbed the “magical negro” film. This type of cinema harps on lower-class uneducated black characters that transform and influence broken white characters around them. Hughey remarks that in a sense, these films actually do well to praise these black characters rather than racially profile them. The issue with such practice arises when the viewer analyzes the situation the black characters are often placed in. In order for these characters to rise to the occasion, they are usually placed in subservient positions where their white counterparts are racially superior. Unfortunately, cinema of this type simply reaffirms racial stereotypes by placing blacks in the lower rungs of …show more content…
society. In addition to his argument, Matthew Hughey writes “The narratives of these films thereby subversively reaffirm the racial status quo and relations of domination by echoing the changing and mystified forms of contemporary racism rather than serving as evidence of racial progress or a decline in the significance of race.” In this quote, Hughey elaborates on the constant significance of race. Films such as Gone With The Wind redistribute the ideas of racism rather than support an advance in the idea of equality. Racial progress is stunted and virtually reversed because of this redistribution. It is my firm belief that if media sends out positive messages, positive results will follow. The influence of media, especially film, is often underestimated. It’s this underestimation that allows racism and other negative ideals to stand their ground and flourish. Furthermore, the insight and information provided through this scholarly source points directly to the character Mammy in the film Gone With The Wind. Mammy is Scarlet’s childhood nurse who also served Scarlet’s mother. Mammy’s defining quality is her extreme loyalty to her masters. To Scarlet, Mammy also serves as a figurehead, a constant reminder of the Old South. The black characters in the film, especially Mammy, are absurdly plain and painfully subservient. The white women of the film are displayed as strong willed, independent and complex. These two character sets are nearly polar opposites. Granted, the intelligence of characters such as Mammy is asserted and clearly displayed, yet stereotypical tendencies are still heavily used. Her intelligence lies in her wise advice. Mammy is portrayed as the “old sage” of the film despite her unappealing position. Janelle Collett, the author of Romanticizing The Old South, comments that the characterization of Mammy is actually somewhat unrealistic. Film historian Edward Campbell reported, “slaves portrayed in the films of the early twentieth-century led pleasantly uncomplicated lives.” Despite Mammy’s importance to Scarlet in the film, she is still considered a minor stereotyped character who “lives in happy complacency.” The largest racial issue of the film in respect to Mammy is her dependency. The film portrays blacks in general as unintelligent, even foolish people. Gone With The Wind also shows blacks as unfailingly loyal slaves who are unfit to support themselves. The movie even goes so far as to imply that blacks are happiest when put under the supervision and ownership of powerful white men. Additionally, an article written by Leonard J. Leff further analyzes the African American dilemma in the film, again with specific regards to Mammy. The article, titled “Gone With The Wind and Hollywood’s Racial Politics”, breaks down the insecurity and blatant racism involved in the screenplay of the film. Leonard Leff backs up previous scholarly articles when he writes “She had, for example, depicted her leading black characters as content with slavery, uninterested in freedom.” Leff also states that the African Americans in the film “often seemed more like pets than people.” He continues his argument by categorizing the blacks in the film as “good blacks” and “bad blacks”. The “good blacks” worked tirelessly with smiling faces while they admired their white masters. Mammy (a “good black”), who Leff classifies as “one of the strongest characters in the novel”, lacks any sort of direction or capability without the guidance of her owners. Leff further analyzes Mammy by stating, “her mind was too simple, not yet fully evolved.” On the other hand, the “bad blacks” were unruly, unprotected and uneducated. These characters were dubbed as “black apes who committed outrages on women”. Even the “good blacks”, their fellow slaves, referred to them as “niggers”. In continuance of his argument, Leff also addresses the publics reaction to the film, especially that of the African American population. According to Leff, black organizations across the country caught wind of the films production by the spring of 1937. Immediately these organizations protested, claiming that Gone With The Wind constituted an acceptance of slavery and the mistreatment of blacks in general. A letter from an east coast organization reads “We consider this work to be a glorification of the old rotten system of slavery, propaganda for race-hatreds and bigotry, and incitement of lynching.” Leff continues his argument with the suggestion that African Americans were not only outraged by the films continued production, but that they were genuinely afraid of it. Ultimately, the black population abhorred the idea of a seemingly anti-negro novel making its way onto the big screen. Despite the overlying racism and elaborate issues that make up the epic film, their are further aspects to consider. One such aspect is the enduring popularity that the movie has enjoyed over the past decades. An article published on sparknotes.com elaborates on this phenomenon and analyzes the possible reasons behind the films success. The article begins by addressing the rough patches that have been unveiled over the years. The films blatant racism and “emotional cliffhangers” certainly give the film an old-fashioned feel. The article reads “the film…served more as the end of a cinematic era than the start of a new one.” An additional factor in the smash success is the timeless elements that serve as lasting icons. Each character comes complete with their own set of imperfections and triumphs over various adversities. The final aspect the article suggests is the perfection of the story telling done through the film. Emotional tension, complication, love and hardship all tie together to make Gone With The Wind a timeless and magnificent story. Likewise, further reports on the film and its initial release provide a look into the history of the movies establishment.
A 1939 New York Times article authored by Frank S. Nugent (written the day after the movie release) offers an array of detail that was otherwise lost in many modern analyses of the film. One unique argument this article has to offer is that the film is extremely unlike its Hollywood predecessors. Arguments made by authors such as Adorno and Zinn infer that Hollywood productions are recycled from old ideas, and are, in general, anything but unique. The characterization in the film as well as its intricacy clearly set it apart from run-of-the-mill productions. From the start, critics and journalists alike realized the significance of the movie and its impact on societal views. Nugent calls the film “the greatest motion mural we have seen and the most ambitious film-making venture in Hollywood’s spectacular history.” The first aspect that sets the film apart from typical Hollywood ventures is its impeccable following of the book. The New York Times claims that the cinematic version of Gone With The Wind matches the novel “almost scene for scene with a literalness that not even Shakespeare or Dickens were accorded in Hollywood.” Secondly, Frank Nugent commends the producers of the film on their tremendous bravery. He writes, “To have treated so long a book with such astonishing fidelity required courage.” Granted, Nugent does infer that certain minor flaws
existed as far as the plotline went, however they held little to no noticeable effect. Lastly, the article addresses the superb casting as the final key to the movies success. After observing multiple commentaries on the films methods of casting, I have come to realize what makes it click so perfectly. The films perspectives and filming are nothing out of the ordinary, but the depth of the cast is truly spectacular. Each character fits their role with an amazing accuracy whereby the film is noticeably more relatable. This intense precision is what keeps the viewers attention in such a significant check. A second scholarly source titled “International Film and Television Propaganda: Campaigns of Assistance” analyzes the transformation of modern propaganda. The author, Bernard Rubin, writes “A key change which highlights the turn away from “hard” propaganda comes from increasing acceptance of the premise that the best results come from campaigns of assistance and not from campaigns of assault.” It’s the use of propaganda through films such as Gone With The Wind that Bernard Rubin refers to in this article. Rather than confronting its viewer’s head on, cinematic propaganda is subtle and often unique in its approach. Rubin continues to suggest that motion pictures, especially on an international scale, aim to introduce “noxious social ideas” such as racial stereotyping. He then explains how mass media tends to affect the viewers behaviors, especially so far as our personal views and relationships go. Gone With The Wind is certainly guilty of such propaganda usage, especially through the device often dubbed as “plain folks”. As stated by macresource.com, propagandists use this device in order to convince their audience that a certain character or group of characters come from “humble origins”. Through these origins, the respective characters gain appeal and the viewer gains trust for the presented figure. Beyond such appeal, the viewers feel as though these characters resonate with them and have their best interests at heart. Gone With The Wind applies “plain folks” to the white characters such as Scarlett, Rhett and Ashley. In support of this propaganda device, it is true that I, a middle class white male, certainly tie more to these characters than to the black slaves such as Mammy. Toward the end of his argument, Rubin states, “In a significant way, film propaganda constitutes schooling in development.” Our attitudes toward race and other social issues are directly affected by what we watch, even when it comes to our cinematic enjoyments. Specifically, the social issue of feminism is also alluded to throughout the film Gone With The Wind. An online article titled Romanticizing The Old South by Janelle Collett (the same article mentioned earlier in this paper) discusses feminist ideals incorporated in the making of Gone With The Wind. Collett writes that the film “is the story of a woman of great strength overcoming all odds to care for her family and herself.” The strength and willpower of characters such as Scarlett and Ellen is admirable and untraditional among “plantation literature of the 1830’s, 1840’s and 1850’s.” Janelle Collett also references the Great Depression and its effects on women during the movies time of release. She goes on to suggest that the resiliency of women in the film certainly inspired the viewers of the time in more ways than one. On the other hand, a scholarly article titled Scarlett O’Hara as Feminist: The Contradictory, Normalizing Force of Law and Culture addresses feminism in the film on a completely opposite spectrum. The article, written by Julie M. Spanbauer, scrutinizes the films feminism in a negative light, particularly with regards to the character Scarlett. Spanbauer suggests that most feminists find the female characters, especially Scarlett, “at best irritating, and at worst, despicable.” She expands her argument writing that the film takes all popular female stereotypes and applies them pessimistically. According to the article, Scarlett herself lacks emotional depth and the ability to self-reflect, both of which are considered typical female attributes. The viewer mustn’t delve deep into the films detail to realize that women characters, despite their strength, are cynical and shallow. I argue that Julie M. Spanbauer’s analysis is more accurate and thorough than that of Janelle Collett’s. Collett merely brushes the surface of Scarlett’s characterization while Spanbauer looks past that and realizes the true implications of the film. After a complete analysis and break down of the film, it is clear that the overall experience of Gone With The Wind is not one to be considered lightly. The film, centered around an engulfing image of the romanticized Old South, is still considered to be one of the greatest cinematic accomplishments of recent times. A unique plotline, unnerving stereotypes, complex characters, propaganda devices, and feminist ideals all come together to form what is truly a timeless masterpiece. Alternative aspects of the film such as its everlasting success and tremendous social influence are also qualities that must be heavily examined. Unfortunately, features such as the negative depiction of African Americans have caused the movie some flack, especially in recent years. Other considerations such as the use of feminism have been analyzed from various angles, both positive and negative. All in all, Gone With The Wind is certainly a film to be talked about, and its legacy will surely live on for years to come.
Rubin, Bernard. "International Film and Television Propaganda: Campaigns of Assistance." Annals of The American Academy of Political and Social Science. N.p.: Sage Publications, 1971. 81-92. JSTOR. Web. Nov. 2013. Bernard Rubin discusses propaganda implemented through film and its tremendous influence on societal tendencies. He explains how film and television alike and relatively new to society and how their uses are respectively changing. The film Gone With The Wind influences our feelings toward Mammy and the other black characters through the use of the propaganda device “plain folks”. The propaganda devices themselves are used to support the racial tendencies of the film directly.
Hughey, Matthew W. "Cinethetic Racism: White Redemption and Black Stereotypes in "Magical Negro" Films." JSTOR. JSTOR, Aug. 2009. Web. Nov. 2013. Matthew Hughey writes on racism in film production. He discusses the general racial tendencies behind movie themes and plotlines. He also alludes to the fact that African American characters in movies are put into rough situations where they are typically subservient. Even if black characters in film are able to rise above the racism presented, they must go through hell to do so. Hughey continues his argument by explaining the idea behind “magical negro films”. These films take lower class, uneducated black characters and place them in a situation where they help to better disheveled white characters. The character Mammy in Gone With The Wind does just that by providing counsel to Scarlett and her family. Although Mammy is intelligent and generally respected, she is placed in a subservient position where she is at the mercy of her white masters.
Further Citations
Van Duisen, Michael. "Top 10 Racist Movies Of All Time." Listverse. N.p., 11 Nov. 2013. Web. 03 Dec. 2013.
Collett, Janelle. "Romanticizing The Old South: A Feminist, Historical Analysis of Gone With The Wind." Feminist.com. N.p., n.d. Web. 05 Dec. 2013.
Leff, Leonard J. ""Gone With the Wind" and Hollywood 's Racial Politics - 99.12."www.theatlantic.com. N.p., Dec. 1999. Web. 05 Dec. 2013.
Nugent, Frank S. "The Screen In Review." The New York Times. The New York Times, 13 Aug. 2004. Web. 05 Dec. 2013.
Spanbauer, Julie M. "Scarlett O 'Hara As Feminist: The Contradictory, Normalizing Force of Law and Culture." Research Online. N.p., n.d. Web. Nov. 2013.