The book belongs to all of us: "Gone with the wind" as postcultural product

Show simple item record Cronin, Jan en 2012-01-03T23:54:44Z en 2007 en
dc.identifier.citation Literature-Film Quarterly 35(1):396-403 2007 en
dc.identifier.issn 0090-4260 en
dc.identifier.uri en
dc.description.abstract There is a sense in which Mitchell recognizes the fallacy by which the past is transformed into a lost Eden, as it is during the siege of Atlanta when Scarlett O'Hara finds the memory of the rambling 'Tara metamorphosing into that of the sprawling white house with fluttering white curtains at the windows, the thick clover on the lawn with the bees busy in it, the little black boy on the front steps shooing the ducks and turkeys from the flowerbeds, the serene red fields and the miles and miles of cotton turning white in the sun! (339). Attention to the processes surrounding the translation of Gone With the Wind from book to film shows the extent to which "the eyes of the Southerner" were fixed not on a disjunction between historical realism and the Hollywood version, as Mitchell contended, but on a hollow and ultimately amorphous cultural narrative. en
dc.publisher Salisbury State College en
dc.relation.ispartofseries Literature-Film Quarterly en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. Details obtained from en
dc.rights.uri en
dc.title The book belongs to all of us: "Gone with the wind" as postcultural product en
dc.type Journal Article en
pubs.issue 1 en
pubs.begin-page 396 en
pubs.volume 35 en
dc.rights.holder Copyright: Salisbury State College en en
pubs.end-page 403 en
dc.rights.accessrights en
pubs.subtype Article en
pubs.elements-id 66686 en Arts en Humanities en English and Drama en
pubs.record-created-at-source-date 2010-09-01 en

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