Gone with the Wind opens with beautiful shots of the Georgian countryside, accompanied by sweeping romantic music and the sentiment rolling down the screen: “There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind” (Selznick) The film explicitly describes its objectives before the audience even sees the famous Scarlett O’Hara. Nostalgia for this old Southern way of life is palpable throughout the entirety of the film and we see an alternate world portraying benevolent white slaveholders, their complacent, jolly slaves, and the noble Cause of the confederacy they tirelessly fought for. However, when viewed in the modern context, this illusion of the South is easily broken and the historical inaccuracies become evident underneath the appearance of Southern romanticism. Though Gone with the Wind romanticizes slavery and the Old South and glosses over racial issues, it represents an important part of American history in its portrayal of white southern attitudes during the civil war.
Gone with the Wind is so broadly interpreted, which makes it is very difficult to say that this film focuses on one specific aspect of “Southern life”. From watching the film it is very clear that the southern pride and way of life is
The northern counter myth was depicted in uncle tom’s cabin, and is seen in the images from the movie with a kind white master failing to live up to image the south is trying to portray. Of course, the north won the war, but the interesting and noteworthy part is that according to Godfrey the southern myth survived and won the peace. Godfrey depicts this in the movie by showing multiple images of movies and art that are post-civil war and primarily made by the north. The slaves are depicted and smiling, happy and even singing, while the plantations are large and beautiful in a glorified manner. Despite the fact that this was a false sense of happiness, this depiction of the plantation gave Americans the pastoral past they were looking for in a rapidly industrializing world and thus the southern myth lived on.
White southerners are characterized alike to that of the released slaves in Cobb’s excerpt. They felt “conquered, ruined, impoverished, and oppressed” when they “returned to their quiet homes under the plighted faith of a soldier’s honor that they should be protected so long as they observed the obligations imposed upon them of peaceful law-abiding citizens.” They were dispossessed “of [their] property and ruined in [their] estates by the results of the war. They had hardly anything to look forward to with a “gloomier future” in the near future.
The Divine Wind, written by Garry Disher, is a novel in which not only shows and describes the struggle of characters during World War II in Broome, Australia, but also the many aspects of prejudice which affect namingly Ida Penrose, Mitsy Sennosuke, and Magistrate Killian.
In No Promises in the Wind many people brought gifts to Josh and Joey, when they were on their journey. Some were actual gifts while others were not. Some were gifts that weren’t physical, they were figurative. Throughout the entire book, Josh and Joey made many friends, and with those friends came many gifts.
Written by Jerome Lawrence and Robert E. Lee, the play Inherit the Wind is a fictitious spin off of the historical Scopes Monkey Trial of 1925, which hotly debated the concept of evolutionism vs. creationism and, in general, a person’s right to think. Overall this play shows the growth of many different types of characters. One of these characters would be Rachel Brown, the reverend's’ daughter, as well as Bert Cates love interest. She is torn between her love for Bert and her loyalty to her father, the Reverend Jeremiah Brown. At the beginning of the play she fears her father and follows only what he says. As the play progresses Rachel becomes more confidant and starts to think for herself. By the end of the play she has created her own identity and completely separates herself from her father.
The novel The Divine Wind (1998) by Garry Disher and the 2003 film, Japanese Story, directed by Sue Brooks both explore the theme of 'love' through the use of novel and film techniques. Through the studying of the context and textual form of both of these texts, a greater understanding of the important ideas is achieved. This includes exploring the context, the characters and the key theme of love.
Throughout the twentieth century, numerous dramas that were written in the United States presented ideas and situations that had the purpose of changing a reader’s attitude towards a specific subject. This is the case of the play “Inherit the Wind”, a piece written by the playwrights Jerome Lawrence and Robert E. Lee. Throughout the years, many literary scholars have argued whether or not “freedom of thought” has stood as a predominant theme in the play. While this issue may bring about countless debates, my respect towards others’ viewpoints has allowed me to pick a side and to defend it with textual evidence from the play itself. From my perspective, the main theme in Inherit the Wind is freedom of thought.
The decade of the 1920’s was a busy grouping of ten years in America. The power of women’s desire to vote won them suffrage while uncertainty sprouted from government actions such as prohibition and especially the Scopes Trial of 1925. Jerome Lawrence and Robert E. Lee’s play Inherit the Wind is a depiction of this unsettling event that took place in 1925. The four main characters of the play are Bertram Cates, Rachel Brown, Henry Drummond, and Matthew Harrison Brady. The friendships between these four main characters are used to show that friendship is a powerful bond, and how the bonds protected Bertram Cates from a larger punishment in court.
O’Connor also poses the contrast between the old and new South in her short story “Good Country People”. Mrs. Hopewell and Mrs. Freeman represent the old South because of the way in which they carry themselves and their traditional beliefs and values. Mrs. Freeman works for Mrs. Hopewell who states “the reason for her keepin her so long was that they were not trash. They were good country people”(O’Connor 272). Mrs. Hopewell describes Mrs. Freeman and her two daughters as “two of the finest girls she knew and Mrs. Freeman was a lady and that she was never ashamed to take her anywhere or introduce her to anybody they might mett”(O’Connor
I see some truth in the stereotype of the South as the land of beautiful southern belles but it’s not entirely true. The south is very diverse, and not all women in the south are pretty southern belles. There might have been a large population of them, but they all aren’t beautiful. However, with that being said every women is beautiful in her own way. Some might be more gorgeous than others but those others might have beautiful in other ways including attitudes. Also“aristocratic planters” were noble entitled people who did not actually plant the crops The “superstitious fieldhands” did the planing.
In Inherit the Wind, changing some elements of the play, such as names and actions, helps to protect the real characters and their actions, while also continuing to stay historically accurate in terms of the overall theme: religion versus evolution.
Disher demonstrates isolation of the ethnic groups and the regional and urban divide present in The Divine Wind through the beliefs, experiences, and values of the Killian family and Hartley Penrose. Both culturally and geographically isolated from the rest of Australia, the people of Northern and Central Australia, specifically Broome felt ignored, misunderstood, and misconstrued by the urban South. This is an ongoing theme in Australia. They resented interference from the federal government. The North feared invasion from Japanese and argued that Australia would perish if the North and the Centre were not populated and developed. Racism was intrinsic, with the Aborigines seen either as treacherous or lazy or as childlike and in need of protection. White Australians were the minority and their high statuses were a scant consolation when they were vastly outnumbered by a diverse range of cultures, the Japanese, Malays, and other South East Asians. Although, the minority, the white residents felt as if they had a power of the other ethnicities. Therefore, opening segregated cinemas, a Register of Aliens, and a clear but unofficial racial hierarchy. Their geographical isolation led to specific cultures, views, and beliefs on race. The regional and urban divide was evident when Jaimie Kilian’s wealthy urban family arrived in Broome. Jaimie felt entitled as his father was the new magistrate in town, he was arrogant and opinionated towards the regional community. When Hart offered his friendship, Kilian responded by saying “I don’t need any friends. “He walked as if he had owned the town.” Jamie enjoyed having an edge over Hart, he felt entitled as he was an urban elite. “Jamie was competitive. In almost everything you could name, Jamie was better than me…We were opposites.” Hart displayed what many felt about the new family from the Urban South. “I envied him, I was jealous, I pitied myself.”
In Faulkner’s works, both the land and the people of the South struggle under the monumental weight of myth and history. In fact, certain calamity looms over his fictional region of Yoknahpatwah, a microcosm of the postbellum South. Themes of the Southern consciousness, such as inescapable past and present, inherited guilt, and emotional and psychological stagnation pervade this fictional region. In The Sound and the Fury (1929) and Absalom, Absalom! (1936), Faulkner’s portrayal of two Southern aristocratic families, the Compsons and the Sutpens, reveal Southerners’ paradoxical attitudes towards the myths of the South: the refusal to forget the past and the inability to live in the present. Both The Sound and the Fury and Absalom, Absalom!
The book Uncle Tom’s Cabin and the film Gone with the Wind share an exuberance of similarities whilst using the perspectives of both a slave and his master. They both, in detail, show that slavery was extremely popular and successful in the Southernmost states in the US. It was indeed considered a lifestyle of many in the nation. In the eyes of author Margaret Mitchell, Gone with the Wind was the “Southern response to the book Uncle Tom’s Cabin”. Mitchell depicts life in the South as a nirvana for highly profitable Caucasian southerners on their plantations where African Americans were more than happy to take a subsidiary role to satisfy their owners. It was an inaccurate portrayal of the time period. On the Other hand, Uncle Tom’s Cabin told the horrifying, but true story of the brutal slavery that took a toll on the South. Although these two works show very different perspectives and tell two totally diverse stories there are many similarities to be shown.
Gone With the Wind was released in 1936 and was written by Margaret Mitchell. The Book and its themes related to the civil war consist of: warfare, slavery, race, society and class, oblivion, and much more. I believe Margaret Mitchell wrote Gone With the Wind to show how much of an impact the Civil War had on everyone, even those who were not a part of the actual war. Yes the book is filled with romance, but if you look outside of that, it is truly a very insightful novel. Could Margaret Mitchell have done a better job at showcasing slavery? Why did she downplay it so much? I believe she definitely could have done a lot better. She reduced slaves to these people who loved their masters so much that they would even hug them. The main character