Dissertation FINAL COPY

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The American south, a region of extraordinary contrast, inspiring both delight
and repugnance, it defies simple exegesis1
Helen Taylor defines the south as representing complex identities and
platforms, exploring it as a location for historic appreciation and American value,
which is contrasted by the ugliness of the historic truth and racial history. This
representation is subject to American patriotism and unity, a common theme for
white southerners during and post civil war and also for African Americans
during the civil rights movement2. A romanticised image of the south is
portrayed when exploring southern literature and film; one particular example
of romanticised southern history, class and race is Margaret Mitchell’s Gone with
the Wind.
Prior to discussing the importance and significance of Mitchell’s famous text, it is
fundamental to understand how southern identity is a key element in southern
history and regionality. An example of a historic figure of the south is the iconic
southern belle. Kathryn Lee Seidel, identifies the belle as an cultural object and
sculpture who on a pedestal represents social attitudes, gender boundaries,
slavery, guilt and weakness and defeat3. Suggesting that the belle is a complex
image of woman and symbol for the south, which holds further significant value
than initially seen. Critics have observed and invested in the belle for many
years. This criticism and analytical observation of the iconic figure is relevant
and reflected in contemporary literature, with critics such as Taylor exploring
the alluring elements which make the fictional belle character of Scarlett O’Hara
concurrently fascinating and criticised.
The notion of regional identity forces audience to observe the historic and
fictional character in relation to location. The southern belle, as a southern icon
is one of the most prominent examples of the American women of who are
regionally categorised. Traditionally representing an image of elegance and grace
1 Helen Taylor, Circling Dixie, (London: Rutgers University Press, 2001) 6
2 Claude H. Nelson, African American Southerners in Slavery, Civil War and
Reconstruction, (USA: McFarland, 2001) 159
3 Kathryn Lee Seidel, The Southern Belle in the American Novel, (USA: University
Press of Florida, 1985) 15

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however also portraying a complex meaning of racial history, the belle can be
analysed from different perspectives. Much of the literary responses to the
southern belle are positive interpretations, exploring the identity though
feminist appeal and the significance of gender boundaries and roles during the
antebellum period. Despite positive debates surrounding the figure little
attention is paid to the negative associations which emphasis the complexity of
the figure holding significance in two different races.
This complexity of the southern belle is represented in the fictional character
Scarlett O’Hara providing a link to southern history, ideology and myth. Scarlett
along with contemporary examples of other southern belles such as Phedra
Parks have captured the attention of women across the globe through their
unique and fascinating form prompting messages of gender, race and
prosperity4. The twenty first century allowed the figure to be viewed from a
different perspective with multiplex messages challenging original
identifications. Despite these varied opinions of the belle the figure has remained
a popular aspiration to film, television and literature.
My thesis explores the southern belle as complex figure, which is considered as
an image of affiliation and resentment associated with white racial supremacy as
well as female empowerment. This complexity attracted me to this topic and
allowed me to develop an understanding of the many examples and
representations of the southern belle portraying a positive image, the stained
image and representation of a racist icon still seeping through the façade of
elegance, beauty and grace. My thesis will examine the belle through several
examples and emphasis the complexity of this iconic figure.
4 Nicholas A. Smith, “Idealism and Insanity: The subservisions of the southern
belle through Blanche DuBois”, Smack, University of Iowa, <
http://www.uiowa.edu/~smack/archive/smack1.1/ess1.htm>, accessed
10.10.14

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The southern belle has traditionally been viewed from a positive angle and with
the help of such successful literature and film such as Gone with the Wind, which
swept the nation into a romantic relationship with the south and Mitchell’s
fictional characters, the southern belle is a representation of an era of prosperity
for women. Scarlett presents as embodying many favoured feminist traits,
superior power, authority and importance of roles. All of which were established
during the civil war resulting in the southern belle being seen internationally as
an iconic figure for women.
The civil war enabled women of the south to uphold a higher authority and
present further power within the home; in Gone with the Wind Scarlett becomes
responsible for the family business. This shift in gender role authority has been
celebrated and is one of the ways in which Scarlett has become an icon for
feminist groups. Elizabeth D. Leonard identifies how many women’s traditional
roles altered during the civil war and presented new authorities5. Empowerment
and refinement were qualities admired not just by women of the south but
nationally.
Complexity of the belle is established when critics associate the belle with
negative references, with the belief that the figure represents a symbol of racial
history. However these negative terms are often disguised in the construct of
Scarlett who embodies positive qualities, which are seen to outweigh the less
obvious negative associations. This is a classic example of Mitchell’s
romanticised illustration of southern history considered to be used, as a tool for
the redemption of southern affairs6.
Mitchell further portrays the message of romanticised south with the
stereotyping of black characters in the film and novel, glossing over the reality
and illustrating an image of the south, which was far from realistic. The portrayal
5 Elizabeth D Leonard, Yankee Women, (USA: WW Norton, 1995) 159
6 Carol S. Manning, The Female Tradition in Southern Literature, (USA: University
of Illinois Press, 1993) 149

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of race relations is significant in that there is a cheerful representation of ‘well
treated’ slaves and close relationships between owners and slaves, which is not
representative of the inequality of slavery7. A strong comparison can be made
between the character of Mammy, the family’s household slave and Scarlett
emphasising this idealised notion. Janelle Collett illuminates the importance of
the “need to remember that acknowledging reality is more important than
preserving a utopian memory”8. Emphasising the view that Gone with the Wind
was inaccurate and the truth should be known.
The concept of unveiling the racial truth is evaluating responses to the classic
representations of the south and the southern belle in particular have become
popular in today’s culture and there has been an increase in the past decade in
perceptions the southern belle from a racial point of view, an example of a
change in cultural understanding, equality and acceptance this is supported in
revisionists texts9.
I will be using the work of, Taylor, Seidel and Clinton to influence and guide my
thesis, which will mirror arguments and include a contemporary addition to the
established debates surrounding the southern belle in the fictional narrative,
including the importance of racial significance and relationship to the figure.
Presenting a debate, which has previously been overlooked by many critics.
Firstly I will discuss the historical fabrication of the southern belle, identifying
historical and fictional portrayals.
7Sparknotes: Gone with the Wind portrayal of race relations<
http://www.sparknotes.com/film/gonewiththewind/section4.rhtml, >, accessed
01.01.5
8 Janelle Collett,“Romantcizing the old south: A feminist, historical analysis of
Gone with the Wind”, Feminist,
http://www.feminist.com/resources/artspeech/remember/rtl8.html, accessed
01.01.15
9 Molly Haskell, Frankly My Dear: Gone with the Wind Revisited, (USA: Yale
University Press, 2001)

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My second chapter will focus on the fictional character of Scarlett O’Hara.
Assessing the complexity of the figure and establishing the investments within
the character.
In connection to the analysis on Scarlett, I will establish a comparison between
the character of Scarlett and Mammy. Assessing ways in which both characters
can be viewed as positive representations of female empowerment but also how
despite their racial divide a relationship between the two is apparent and
therefore significantly adding to the complexity of the two characters and the
southern belle in particular. Finally reference to Hattie McDaniel, who plays
Mammy, success and career, which was affected by racial segregation will be
explored.
With this information assembled I will identify some critical literature and
cinematic responses to Gone with the Wind. Evaluating the work of Alex Haley in
Roots, but also including the direct responses to the film and novel, The wind
gone done by Alice Randall , Ruth’s jJourney by Donald McCraig and 12 Years a
Slave directed by Steve McQueen. To identify why these narrations hold
significance in today’s society. Finally reference to the 75th anniversary of Gone
with the Wind and the ideas and views, which sparked racial critic an analysis
will be established.

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A traditional southern- and uniquely American character- the belle figure has
been a perfect vehicle to represent the flowering of the old south
Katherine Lee Seidel10
As Seidel implies, the figure of the southern belle has been an object of
fascination for many critics, with particular focus on fictional representations of
the image and historical accounts, whereby the belle has been examined in terms
of significance to a particular era. I argue that a central reason for the fascination
in the duality of the southern belle, is not simply a ‘vehicle’, in Seidel’s term, a
literary and cultural icon of the south but also an identity which is an aspiration
and an example of ones experience in defining their identification and status.
Taylor is among many of the acclaimed critics who provide insight into the
literary representation of the southern belle11, along with Michele Gillespie and
Catherine Clinton who trace the historical literature of the belle 12. Many of the
fictional characters stem from original figures, representing an image of a
southern belle, whose qualities and identity have been repeatedly transferred
into a fictional character representing empowerment, superiority but also
negative association gender boundaries and race13. Anne E. Rowe describes the
southern belle “as a form of fictional embodiment” suggesting that the
representation and ideology, a manufactured representation of an ideal, best
demonstrated with the protagonist Scarlett O’Hara in Gone with the Wind14.
Exploring the figure of the ‘southern belle’ in terms of power and complexities
within gender politics is essential when analysing both fictional representations
of the belle as well as authentic figures. So, who really is the belle?
10 Seidel, The Southern Belle in the American Novel, 164
11 Taylor Helen, Scarlett’s Women, (UK: Virago Press, 2014)
12 Michele Gillespie, Catherine Clinton, Taking off the white gloves, (USA:
University of Missouri Press, 1998)
13Elizabeth D Leonard, Yankee women, (USA: W.W. Norton, 1995)
14 Anne E Rowe, “Complex Images of Women”, University of North Carolina Press,
Vol 20, No 1, (1987), 142

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The southern belle is considered a figure of a woman whom feminist readers can
identify with according to Seidel15. Demonstrating progression and
empowerment for women in an era when gender equality is paramount.
However beneath these ideologies and romanticised representations of a women
lies a deep rooted issue of race and racial limitations, in terms of the southern
belle compared to the African American household slaves, the Mammy’s of the
plantation home.
Historically the belle stood for an ideal, a representation that was in fact a myth.
Literary accounts and examples have provided a gateway for this image of a
woman to be explored further and adapted in more detail.
Revisions of the belle have been approached on countless occasions highlighting
the mutability and alterations of a stable figure, a figure who, can be altered and
adjusted for fictional and historic purpose. Rowe portrays the “southern belle as
a symbol of what is wrong in the south, whilst others in historical novels use her
to evoke a lovely image of the old order”16. Examples of revised southern belles
range from Mitchell’s interpretation of Scarlett who reaches out to the feminist
readers but also to those hungry for the sweet and subtle reminder of the ‘good
old days’. Continuing a long tradition of the physical description and personality
of the southern belle17. A contemporary positive interpretation of revisionist
literature is Phaedra Parks, Secrets of the Southern Belle, a guide for
contemporary southern belle women identifying as a historical image of racial
significance, again supporting the notion of the changeability of the belle .18
Elements of identity and gender are common literary themes of the belle
however these can be transferred to slave narratives whereby identity and
gender are also significant providing a connection between the belles and the
slaves. This connection is emphasised when Seidel quotes; “Womensfolk is like
15 Kathryn Lee Seidel, The Southern Belle in the American Novel, (Florida:
University press of Florida, 1985) 3
16 Rowe, Complex Images of Women, 141
18 Phaedra Parks, Secrets of the Southern Belle, (USA: Simon and Schuster, 2013)

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niggers can’t get dier way much I dis yer world, gits along easier ef dey can
change dier minds”. Outlining social order and connection between the races19.
Despite this shared connection between belle and female slave, much of the
southern historical literature and artefacts have been altered, to represent the
domination and importance white supremacy but also male white supremacy.
One particular example of this is, women’s involvement in the civil war.
Historians sculpted facts and presented women’s involvement as limited and less
significant therefore uncelebrated20. Reflecting much of the overall view of
gender hierarchy in the south at the time but also racial hierarchy, there is
limited information about black women’s involvement in the war, significant
black women who survived as fundamental importance to the civil war are
rarely mentioned in historic documents, such as Harriet Tubman and Mary
Elizabeth Bowser whose war efforts were significant as some of the first freedom
fighters for African Americans21.
The civil war granted these women with new found responsibly and authority
within the home and plantation. New roles were given to women off the
battlefield, the responsibility to care for the home and supervise the slave
workers. Other women offered medical care for soldiers. This new found
responsibility was hard to relinquish when men returned from war, original
responsibly and duties were assumed and history was altered and sculpted in
such a way which was uncelebrated of women’s involvement in the war,
emphasising the power and dominance of gender but also the limitations of
which women were subject to22. Gender constrains retuned immediately after
the war and oppression continued for African Americans.
19 Seidel, The Southern Belle, in American Novel, 22
20 Leonard, Yankee Women, 160
21 O’Connor, Bob, “African America women contributed significantly in the Civil
War”, Examiner.com, 2012, < http://www.examiner.com/article/african-
american-women-contributed-significantly-the-civil-war>, accessed 02.02.15
22 Leonard, Yankee Women, 160

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Further complexity of the comparison is the empowerment of white women of
the south in contrast to the racial limitations of slaves. As supreme, southern
belles climb the ladder to freedom, success and gender equality the prosperity
for slaves is non- exsistent and equality is not present until decades post slavery.
Establishing the complex difference between the main elements which constitute
to the structuring of the southern belle, can be challenging to address when
analysing race and gender, two conflicted elements historical and contemporary
terms. However links can be found when comparing the ideologies, romanticised
representation of the southern belle with the factual depictions of black female
house slaves. The affiliation of these two terms will be illustrated throughout my
thesis.
Many of the southern belles qualities provide examples of white supremacy and
power not just through race and skin colour but through complex examples of
education, dialogue and language, labouring and duties as well as health and
ownership all of which are the route of power. Rowe supports this vision, “The
southern belle, is an expression of white supremacy and quintessence of
southern culture”23 expressing the significance to racial importance and
supremacy but also hinting at traditional through the reference to southern
culture.
The education of the belle was a requirement; it provided the women with the
freedom of learning, developing skills and provoking intelligence24. Education
also served as a form of power for the women, which, was very limited, but
worlds apart from the powerlessness of slaves. Educated women portray the
romanticised white domination in a slavery society, built upon power, freedom
and structure25. Slaves were threatened extreme methods of pain and brutality if
24 Christie Anne Farnham,“The Education of the Southern Belle”, Annals of the
American Academy of Political and Social Science, no. 540 (1995): 171-173

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they were discovered as literate, as they were seen as a threat26. Although they
were not physically free some slaves sought freedom in intelligence; documents
and accounts recorded the reality and provide a different interpretation of
southern history27. The expectation to read and write was paramount for
‘southern belles’ 28. Alongside the freedom of education of southern women was
the freedom of language and dialogue, often the belle’s were taught a second
language a significant comparison to slaves who were considered “non person”
and banned from using their native language29. This prohibition demonstrated
the notion that ethnicity, tradition and heritage, were only valued within the
white community and highlighted the racial concepts apparent in America
during the nineteenth and twentieth century.
In addition to the central discussions of the belle in terms of race, gender
empowerment and disempowerment these components catalogue the ‘ideas’ of
the relevant labour, role and responsibilities of women.
Traditionally the belle presented an image of a woman of who is dictated to by
men, confined to restrictions of the plantation home. Presenting an image of a
woman who is from the earliest form ‘placed on a pedestal’ by her father later to
become the ownership of a wealthy husband. Farnham identifies the connections
between ownership of the southern women and ownership of the slaves,
providing both women with a connection30.
26 Library of Congress: Born in slavery: Slave narratives from the federal writers’
project, 1936-1938
,<http://www.loc.gov/teachers/classroommaterials/connections/narratives-
slavery/thinking7.html>, accessed 02.02.15
27Cornell University Library, “I will be heard!”,
http://rmc.library.cornell.edu/abolitionism/narratives/Separation.htm>,
accessed on 02.02.15
29 Margaret Jones Bolsterli, “ The Langauge of the American South, and: The
southern belle in the American novel (review)”, review 32, No 4, (1986): 69
30 Christie Anne Farnham,“The Education of the Southern Belle”,171-173

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A further comparison can be made when labouring duties were not required for
the affluent southern women. The economy and income depended on the slave’s
involvement on farmland, leaving the belles to practice leisurely activities,
“Which in turn cultivated her femininity” 31. Highlighting not only a comparison
between the women but also a dependency on one another.
Slaves were confined and likewise belles were kept isolated from the world as
they lived within the grounds of the plantation32. Illness and disease was also a
common occurrence within the plantation home, among the belles as confirmed
by Catherine Clinton who describes these women’s endurance and ability to built
an immunity to “Stoic tolerance of the situation” 33this again can be related to the
hardship and pain slaves endured and how they survived it.
Further depictions of the connection between limitation of the southern belle
and the slaves will be made in future chapters, with the exploration of particular
fictional characters and their significance to society and the message of race
these fictional figures represent in the past and present.
Taylors work in Circling Dixie and Scarlett’s Women along side the work of
Kathryn Lee Seidel are among the main critical representations I will be using
throughout my thesis. Taylor’s work provides an overview of the southern belle
in terms of gender, femininity and identity with a particular focus on the appeal
and attraction the fictional southern belle, Scarlett O’Hara.
Seidel's work will accompany Taylors, providing a wider overview of the
fictional southern belles from an extensive range of resources. Both will
compliment each other in establishing a range of material, which subsequently
31 Catherine Mills, “The Southern Belle: A faded reminder of the old south”,
Category Archives, 2013, <
https://undergradessays.wordpress.com/2013/03/23/the-southern-belle-in-
literature-a-faded-reminder-of-the-old-south/>, accessed 10.09.14

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builds the foundation for my thesis. These critics limit themselves in defining a
field of racial awareness; therefore I will include an approach to exploring the
racial politics of the southern belle.
The southern belle serves as an emblematic image of a nostalgic and mythical
south, with qualities and images, which can be assessed to present an image of a
woman far from realistic and an image which has been adapted and altered by
fictional novelists for centuries. In the next chapter, I will be exploring the
concepts of the fictional southern belle through the representation of Mitchell’s,
Scarlett O’Hara and mapping the work of critics and recognising some of the
racial concepts of the figure.

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“Scarlett O’Hara was not beautiful”, the opening words of Mitchell’s world
famous novel Gone with the Wind34. Scarlett is a complex figure that cannot be
defined by simplistic terms such as ‘beauty’. As the protagonist of the one
thousand page novel, holds significance as a woman who embodies qualities
which extend further than her appearance. Her identity and appeal have been of
interest for critics, from a range of disciplines setting out to define the
representation of Scarlett. Taylor describes the response to Scarlett from female
audience, expressing their “admiration, recognition and disapproval” of the
character and how Scarlett represents a woman with a range of identification
possibilities 35. This chapter will explore the figure of Scarlett as a southern belle,
with attention to the investments made in the character and the complexity,
which is represented in the notions of feminist empowerment and racial
oppression.
Scarlett’s last words, ”after all, tomorrow is another day” are considered the
most recognisable and quoted in film history36. Highlighting the phenomenon of
the film and novel but also the viewers love for Scarlett and how many could
relate to the character, resulting in this being quoted for decades.
Readers are attracted to the persona of Scarlett as a woman who was not
beautiful evoking sympathy for Scarlett early on in her introduction to the
audience, normalising Scarlett and presenting her as a character, appealing to a
range of women who relate to this notion. Scarlett’s appeal potentially stems
from much of her embodiment, personality and characteristics, fragile yet
flirtatious. Scarlett has the utmost attention from most men she meets, using her
charm and personality as a vehicle to influence and manipulate. Psychologist
Harvey M. Cleckly explores how Scarlett embodies a fictional example of
sociopathic personality traits and describes her as demonstrating ‘The Mask of
Sanity’. Cleckly’s argument is relevant to the variety of discussions relating to
appeal as Scarlett’s persona can be divided into a woman who woman who
34 Margaret Mitchell, Gone with the Wind, (USA: Wildside Press LLC, 2012) 1
35 Taylor, Scarlett’s Women, 106
36 Vicki Eaklor, “Myth and Gender in Gone with the Wind”, A journal of film and
popular culture, (2002),

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embodies dual identities, kind but also manipulative and deceiving, adding to the
appeal of Scarlett37. Mitchell juxtaposes her representation of Scarlett not being
beautiful by describing her intriguing personality and her appearance, describing
features that would have been particularly appealing during the period of 1930’s
in America. “Her eyes pale green without a touch of hazel- bristly black lashes,
Magnolia – white skin- that skin so prized by Southern women”38. All features
which are uncommon for typical southern belles but very fitting for Scarlett an
extraordinary southern belle. Further appeal for Scarlett is apparent with her
outspoken personality, which coupled with her unique appearance a notion,
which would have been uncommon in female narratives during the 1930’s.
Significance and appeal is further presented within the naming of Scarlett. Critics
state that the name holds significance in that it conceals varied connotations
similar to Scarlett’s appearance. Some critics associate the name with
romanticised meanings and others with connections to darker significance.
Fundamentally the name is complex in that it refers to slavery as well as
romance. Taylor identifies the name Scarlett signified; “righteous struggles and
martyrdom of collective kind but also a symbol of a nation, a class, a family which
saw its fight over land as historically and symbolically”39. Publisher’s visions
differed from reader’s interpretations, which held stronger connection and value.
According to readers Scarlett signified Irish struggles, the colour of blood,
passion, anger, sexuality and madness40, characteristics, which are portrayed
throughout. However complexity is presented when a contrasting
interpretations of the name Scarlett is established by African American ex slave
or of slave accessory. The blood, anger and passion can be associated with the
death of slaves through lynching, violence and the brutality of the beatings, the
red blooded scars which remained on slaves from whipping and the hard
labouring which they endured. Comparative tragedy is established with the
sense of the colour of blood being red for all races; is shared and not segregated,
37 Hervey Cleckley, “The Mask of Sanity”, Aware Journalism, (1988), 89
38Mitchell, Gone with the wind, 1

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emphasises inhumanity of the slave owners. Taylor describes one black writer,
James Baldwin’s view of Georgia, which also holds purpose when describing a
land built on the raising of slaves and the savagery of deaths. Baldwin describes
the land as the rust-red earth of Georgia stained by the “blood, which, dripped
down from trees which black men hung41”. A comparison to the red stained soil
of Georgia can be made between the red soils of the slave’s African land. Taylor
provides an alternative response to the vision of rusted red land, illustrating that
the referencing to the colour red in the land, suggests a “womblike security of
hearth and home”42, which is fitting for only the white race when describing
slavery states. Racial significance is also apparent in the comparison to the
importance and consideration behind the naming of the white southern belle
character, Scarlett and the naming of the house slave, Mammy. Mammy the
character whose name was her descriptor, not worthy of an official name,
provided with merely a title, a constant reminder of her ownership, authority,
importance and duty43, here an embalance in racial importance can be identified.
Further complexity in the name Scarlett is emphasised in the romanticised vision
of the name associating to beauty and vanity and the beauty of the red rose, an
image which alone presents complexity even with romance. However it is also
fitting for the description, of a roses, beautiful appearance yet has ugly painful
thorns, a similar description of Scarlett’s persona could be compared here.
Scarlett’s name holds many suggestive meanings, which are all compressed into
a single representation of the character and help build a strong, wilful figure,
with a name existing of many meanings; qualities and flaws.
Complexity was apparent in the casting of the role for Scarlett in the film. Parallel
to the importance of choosing an appropriate name for the character, extreme
measures were taken in order to employ the actress for the role of Scarlett, David
O.Selznick’s, the producer’s utmost priority.
43 Micki McElya, Clinging to Mammy, (USA: Harvard University Press, 2007), 3

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Selznick spent two years searching for the right actress44, eager young women
wrote to Selznick expressing their desire to perform such a role, yet none made
the cut45. Even out of the one thousand four hundred interviewed and ninety
auditioned, a search for Scarlett was still underway46. The advertising expenses
were $92,000, equivalent to four hundred thousand cinema tickets in 1938 in
America47, which was considered the ‘price to pay’ in order to find the right
woman. Selznick expressed the importance of finding a fitting woman to play
Scarlett in a letter, to one particular woman, who was tested, Tallulah Bankhead,
stating, “Once you get the chance to act, you should burn up the screen”48.
Implying the performance should be passionate and intense and should alert
Selznick immediately, he knew what he needed. Audiences were being primed to
fetishize Scarlett with this exaggerated search.
A number of foreign actresses were interviewed and the increase in the number
of non-Americans actresses in Hollywood films during the 1930’s was higher
than ever49. The possibility of Scarlett being played by a non-southerner caused
much public debate and resentment. Amongst the vast number of women
considered for the role, one particular woman stood out to Selznick, Vivien Leigh.
After the announcement of the British female actress, to play the role of Scarlett
protests and unwelcoming opinions were shared regarding Selznick’s choice. The
president of ‘United Daughters of Confederacy’ expressed his views on a non-
southerner playing Scarlett, “any other than a native born southern woman
45 Producing Gone with the Wind: Harry Ransom Centre The University of Texas
at Austin, The Search for Scarlett
<http://www.hrc.utexas.edu/exhibitions/web/gonewiththewind/scarlett/#top
> accessed 17.02.15
47 BOX Office Mojo: Adjusting for ticket price inflation
<http://www.boxofficemojo.com/about/adjuster.htm > , accessed; 02.02.15
at Austin, Women Tested for the Role of Scarlett
http://www.hrc.utexas.edu/exhibitions/web/gonewiththewind/scarlett/tests/
#top, accessed 17.02.15

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playing the part of Scarlett”50. The use of the words native, born and southern
highlight the opinions and importance of ethnicity and race and single out the
necessary requirements of importance in the role and also suggest authority and
superiority. Joe Shay, the Hollywood Reporter’s contributes to the negative
opinion referring to Selznick’s choice as an “unfortunate selection” 51. Despite the
negative responses, Selznick defended Leigh on countless occasions and
reported Leigh’s own heritage was of Irish and French, the same as Scarlett’s. Its
questionable as to whether Selznick presented this information as a form of
justification for Scarlett’s ethnicity or as a method to show connection to the
actress and character but also a connection to many of the southern respondents
who too, could be of French or Irish decent. Susan Myrick responded to negative
complaints about the ethnicity of Scarlett with her opinion that, “gratefully
preferred an Englishwoman for the part of Scarlett, rather than a East or Middle
West, as she had always felt there was a close kinship between the southern and
English people”52. Taylor supports Myrick’s response stating how southern
audiences were pleased that the actress was not northern, highlighting the
strong confederate views, which are also mirrored in the film53. An image of the
‘real’ southern belle is expressed here, in that the belle is a performed identity as
opposed to a natural identity, this suggests that the belle as an identity which can
be ‘performed’ by anyone.
50Gabrielle Inhofe, “In the Galleries: Producer David I. Selznick defends casting
Viven Leigh as Scarlett O’Hara”, Harry Ransom Centre The University of Texas at
Austin, < http://blog.hrc.utexas.edu/2014/09/25/in-the-galleries-leigh-casting/
>, accessed 17.02.15
51 Gabrielle Inhofe, “In the Galleries: Producer David I. Selznick defends casting
Vivien Leigh as Scarlett O’Hara”, Harry Ransom Centre The University of Texas at
52 Gabrielle Inhofe, “In the Galleries: Producer David I. Selznick defends casting

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Scarlett’s accent presented a concern, brought to Selznick’s attention in 1938, by
Harry Martin, editor for the Daily Memphis when he wrote to Selznick expressing
his and nineteen other student’s views. The letter detailed Martins views on the
importance of an authentic southern accent and the apprehension of Hollywood
mimicking the southern drawl. Martin and the students were not alone with their
concern for the importance of obtaining an authentic southern accent; many
believed that the wrong accent could “murder” the entire film. Selznick assured
Martin that a southern speech specialist would be employed to enable the cast to
achieve the true southern drawl54. Yet accent and dialogue were not considered
as important for the black cast members who spoke simplistically. The notion of
uneducated slaves was no-doubtably portrayed throughout and racist
stereotypes were apparent in all of the black characters. This use of stereotypical
racism used in language and dialogue is an example of old American belief and
tradition referring to “African Americans needing to be slaves because they
weren’t able to function on their own”. The result of portrayal of African
Americans used in the film led to an attempt to boycott the film by The National
Association of the Advancement of Coloured People55. Additional information
regarding language and dialogue of African Americans in the film will be
explored in greater detail in the next chapter.
Racial identity later became less of an importance when audiences began to fall
in love with Leigh 56. Postproduction of Gone with the Wind, Leigh’s personal life
also became a fascination to many. Leigh’s life off set reflected similar
characteristics to Scarlett, that of an ‘unstable southern belle’, who was
presented manic-depressive behaviour, a regular drinker, smoker and who
54Producing Gone with the Wind: Harry Ransom Centre The University of Texas
at Austin, Fan mail database Protests, <
http://norman.hrc.utexas.edu/gwtw/?cat=Protests&story=6#top>, accessed
17.02.15
55Spark Notes: Gone with the Wind Portrayal of Race Relations, <
http://www.sparknotes.com/film/gonewiththewind/section4.rhtml>, accessed
17.02.15

19
suffered from insomnia. Leigh displayed the effects of hard work, pressure and
someone who potentially played her role so well because her own persona was
similar to Scarlett57. These qualities can be compared to some of the emotions
the African American slaves would have experienced during and post slavery and
segregation however they represent a very different interpretation of
enslavement in the film.
In addition to Leigh’s outstanding performance, women lusted over Scarlett’s
costumes, which are central features in the film. 2013 saw an exhibition of
Scarlett’s wardrobe at the Victoria and Albert Museum. It included the notable
green velvet ‘curtain dress’ worn by Scarlett and made my Mammy. The dress,
designed by Walter Plunkett, served a more symbolic meaning than initially
seen. The notion that the dress symbolised Scarlett’s ambition to survive despite
the crumbling down of land and home, was Selznick and Plunkett’s view. Further
symbolic meaning is represented in the dress being from Scarlett’s home, Tara
and the idea that Scarlett is wearing features of her home with pride
demonstrates the importance and connection to home, suggesting Tara is part of
Scarlett. Heritage is also proposed within the colour of the dress, deep dark
velvet green represents the traditional Irish ‘Shamrock green’ colour used in the
symbol of the Irish four-leaf clover58. Finally further symbolic significance of the
dress includes the representation of Mammy making the dress for Scarlett,
demonstrating Mammy’s role and duties, traditionally slaves made their clothes
from rags, a comparison is made between Scarlett’s world falling apart, yet still
managing to wear clothes of high quality, mammy wears rags. Other notable
costumes which caught the audiences eye, included the Scarlett Red Ball Gown,
worn at Ashley Wilkes birthday. A dress chosen by Rhett, used to humiliate
Scarlett at the celebration, “ I want you too look your part tonight” Rhett
expresses to Scarlett. In fact the dress embodies much of Scarlett’s persona and
58 “Shamrock” The Columbia Encyclopaedia , 6th ed, 2014, Encyclopedia.com
http://www.encyclopedia.com/topic/shamrock.aspx, accessed 17.02.15

20
reflects an element of progression in the character. Compared to Scarlett’s choice
of dress in the first scene, a green and white covered up dress which she alters
much to Mammy’s dismay, the red ball gown although used to embarrass
Scarlett, shows her true personality, revealing, strong, extravagant and eye
catching59. The contrast of Mammy’s two wardrobe changes in the entire film
compared to Scarlett’s array of outfits symbolises the simplicity and
unimportance of the character Mammy and her contribution to the film. This
notion of importance and symbolism of clothing will be explored further in the
next chapter.
Investment in the figure was also demonstrated in the fan mail received,
reflected this investments complexity, and therefore varied views and opinions,
which surrounded the character. Fan mail was one of the ways in which
audiences connected to the characters of the film and expressed their opinions
regarding particular scenes and representations of certain characters. A
contemporary approach to these expressions would be the use of social media
and a tool of driving opinions regarding topics such as films and books but also
the internet where a global community can discuss and present online reviews of
films, this advanced form of sharing communication was not available in 1930’s
and comparing the methods of communication and connection to the film and
novel then and now, little has changed, audiences are still discussing similar
views and opinions. This demonstrates the film is still relevant today and evokes
debate.
Conflicted and debated investments in Scarlett, are reflected in the conflicted and
debated investments in the south itself, and in American femininity. A realistic
and a ‘true’ picture of the south were all views expressed by many southerners
responding to Gone with the Wind. With the production of the film underway,
responses to not only the importance of representing Scarlett correctly were
brought to Selznick’s attention but also importance of representing land and the
at Austin, Scarlett O’Hara Costumes The Red Ball
Gown,http://www.hrc.utexas.edu/exhibitions/web/gonewiththewind/costumes
/scarlett/ball/#top, accessed 17.02.15

21
south correctly. “However the yearning for authenticity, expressed by many
southerners was in fact a desire for an idealised depiction of the south” an
opinion shared by Cindy Taylor a volunteer for Harry Ransom centre and the
exhibition of Gone with the Wind. This opinion is supported by much of the
nostalgia apparent for many southerners and the romanticised impression of the
south, which is apparent in the film. Selznick responded to the importance of
obtaining an authentic backdrop and landscape by employing a specialist
production team to ‘absorb’ the landscape and architecture of the south and
Georgia in particular. Katherine Brown was a member of the production team,
voiced her impression of the southern architecture as “absolute horror”,
explaining that the south presented ugly images and this was not how Mitchell
represented Tara in her novel. A balance had to be found between pure accuracy
and the pleasing of southerners. Thus left the fictional depiction of Tara to be
represented in a romantic illustration, using an idealised image of a landscape
and home. The representation of Tara was in fact an accurate depiction of how
many southerners actually viewed the south.
The notion of connection to landscape, family and home is expressed by one
respondent, Marjorie Taylor, who wrote to Selznick communicating her
attachments; “Gone with the Wind is the story of my family and family next door
and we distinctly do not want it mistreated”, correctly representing the south
was a fundamental importance shared by many southerners60. Audiences
honestly felt Mitchell was telling their story and therefore association and
connection to the film and novel was extremely powerful.
As Scarlett was often seen as a feminist icon, the feminist voice was a strong
contribution in the production of Gone with the Wind. Taylor in particular echo’s
a strong impression of feminist depiction, exploring the notion of comparing
Scarlett to other fictional southern belle characters, and understanding the
at Austin, Fan mail database Protests, <
17.02.15

22
Scarlett represents a new kind of southern belle a “Southern belle who breaks
down the codes of femininity and flaunts a shocking red dress”61, this new
example of a southern belle rebelling and showing an empowered, opinionated
strong woman somewhat explains why the character is valued by feminists in
particular.
Rebellion in the form of a, ‘transformed’ belle is explored by Vicki Eaklor, as she
assesses Scarlett during the era of domestic change as opposed to a ‘new’ form of
bell. Eaklor interprets many of the ways in which Scarlett makes viewers feel
‘uncomfortable’ as she portrays regional and gendered myths, which are
contrasted with key, American male values. This form of juxtaposing gendered
qualities is a skill, which Scarlett conveys throughout film. As Scarlett embodies
many of the qualities, which were often associated with the masculine figure,
dominance and male authority, the viewers are exposed to a woman who is
‘pushing’ gendered boundaries. This notion of rebelling against society is a
running theme throughout Gone with the Wind and an expression most employed
by Scarlett. She demonstrates an authoritative and controlled nature, when she
looses Rhett, due to her unwillingness and inability to be considered more than a
submissive wife. Presented visually as a submissive woman, Scarlett presents an
intriguing contrast between appearance and personality. Status, appearance,
gender and family all suggest a woman who should fit to certain gender
constrains within society yet Scarlett embodies a personality which is quite the
opposite, positioning herself as an mysterious, rebellious character.
Core American values materialise when exploring the character of Scarlett,
career success, self-expression and independence are all fundamental qualities
illustrated. These are contrasted by the feminine societal qualities which are
expected of a woman during the antebellum period and beyond, domesticity,
self-denial, dependence all of which are considered the ‘the idealised expression
of femininity’ in Eaklors words. Another example of how Scarlett can be
considered a fascination for many viewers.

23
Eaklor later explains how Scarlett epitomises of a masculine woman in terms of
her qualities and beliefs. Exploring how Scarlett surrounds herself and is
attracted to feminine males, to en-force her masculine character and is an
example of gender role reversal, the male characters presenting as weaker,
dependant and controlled by a strong, powerful and dominant female character.
This idea is clarified by the understanding that Scarlett often isolates herself
from female acquaintances, therefore prompting the masculine qualities of the
male characters, which she surrounds herself with. In spite of her ability to
control men and present as a masculine female there is one significant indication
which cannot be disregarded, Scarlett’s belief that in order to obtain happiness a
emotional attachment and dependence is reliant on the existence of a man in her
life. Identifying how Scarlett although presents a strong notion of masculinity
and gendered authority and importance there is still a secure notion that in
order for Scarlett to survive she is reliant on a male figure in her life.62
This notion of male reliance and female passivity is best expressed in the famous
‘You need kissing badly’ scene between Scarlett and Rhett. Rhett holds Scarlett’s
fragile frame close to his, as she tilts her head back in a passive and submissive
manner, the tension between the two characters is electrified, Rhett examines
Scarlett in a doctorial manner and prescribes her the cure of a kiss. Rhett is one
of the only male characters Scarlett shows true passivity towards and expressing
qualities of little self-reliance and independence.
Finally Eaklor ties in the concept of femininity and American values for Scarlett
and the film as a whole. Describing the optimism Scarlett portrays as and
‘attractive’ cinematic experience for an American audience alongside the notion
of survival and courage to face the future by returning to the past (Tara) is also a
significant ‘national mentality’. Understanding core American values and
ideologies is an importance, which is expressed within the character of Scarlett
and in the film63.
62 Eaklor, “Myth and Gender in Gone with the Wind”
63 Eaklor, “Myth and Gender in Gone with the Wind”

24
Feminist views of Scarlett continue as she is admired of her being a problem
solver, a woman who “ we all want to be like”. However it is questionable
however if this opinion would be shared by African Americas to whom Scarlett is
a slave owner64.
One of the strongest reasons feminists adore Scarlett is due to the new female
narrative presented in the film. Many Hollywood narratives present women as
accepting of society gender roles and if they do not accept these forms of
grouping are therefore punished, a notion, which is repeatedly expressed in the
film65. However it could be said that Scarlett’s rebellion and sexuality is used to
empower women especially feminists who consider her to be a symbol for the
beginning of second wave feminism, “an example of gutsy individualism or
feminist self determination”66.
Scarlett’s solitude is also expressed in the notion that “no one can rescue you but
yourself” an ethos of which She represents throughout 67. The exploration and
common theme of survival is one that is greatly celebrate from feminists and non
feminist in Gone with the Wind, and the idea that Scarlett saves herself, home and
family to some extent demonstrates many fundamental elements of a true
symbol for feminism. One particular scene, which highlights Scarlett’s true
strength when Scarlett declares, “Ill, never be hungry again. No, nor, any of my
folk”. Possibly one of the most powerful scenes in the entire film, the
representation of female strength and survival are key themes however this
scene can be further explored in detail to depict representations of racial
connection and association, this concept will be analysed in the next chapter. In
addition to the theme of survival, the concept of labour is another example of
feminine empowerment and with the representation of Scarlett empowering
many of these strong impressions of female strength and ability, a later
67 Hannah Betts, “My Love Affair with Scarlett O’Hara”, The Telegraph, October 19
, 2013, http://www.telegraph.co.uk/women/womens-life/10385532/My-love-
affair-with-Scarlett-OHara.html,

25
comparison can be made between Scarlett and the iconic figure of ‘Rosie the
Riveter’ who similarly stands for women’s strength and labouring abilities.
Scarlett can be seen as the last form of female empowerment in the Hollywood
film industry before the change in film genre. The 70’s and 80’s welcomed the
birth of male character as a superhero as a comparison to the empowered
women such as Scarlett represented in the 1930’s68. Scarlett is even referred to
as a ‘superhero’ by one respondent suggesting how Scarlett can be considered a
primary example of powerful women69.
Despite many of the positive feminist responses to Scarlett, race is often
disregarded and considered as an unimportant feature of the film and novel. The
unbalance and significance of race is only recently being recognised. This one
sided debate imposes the impression that feminism and race cannot be analysed
together and by presenting a racial view alongside a feminist can counteract one
another.
This notion of the southern belle as a racist figure is apparent in today’s society,
in the form of antebellum re-enactments. Girls get to portray their inner ‘Scarlett
O’Hara’ or ‘Melanie Wilkes’ at The Rectory of the Antebellum School for Girls, a
summer camp designed to teach girls southern hospitality, embody southern
gentile and become educated in true southern history. Teachings include how to
present as a true southern lady, dance and entertain, all of which are encouraged
to include a submissive attitude to represent the official description of a true
southern belle. Carroll Van West, Director of Tennessee Civil War National
Heritage explains this was not actually the case for many southern women, who
presented as assertive, argumentative and active within much of the plantation
responsibilities as well as politics, much like the how Scarlett is conveyed in the
film. West also states that these women were “looked upon as leaders not
followers” another close association to Scarlett.
68 Molly Haskell Frankly My dear: Gone with the Wind Revisited,(USA: Yale
University Press, 2010), 188

26
The ethos of the school is to educate and celebrate the southern qualities and
identities, which can often be lost in modern representations of the south and the
modern society however fundamental issues of race are not being recognised.
This notion of glossing over racial history in the south is also expressed in Gone
with the Wind70.
Scarlett at first glance represents a figure who, embodies empowerment and
challenges gender boundaries however complexity is established when the
notion of Scarlett’s reliance on Mammy is explored. Presenting Scarlett as a
strong and powerful woman in many ways but unable to operate on her own.
70 ITVS Independent Television Service, The Myth of the Southern Belle, (2011:
USA, ITVS, YouTube, 2015)

27
It is essential to include the examination of the character Mammy in this chapter
to, understand the ‘image’ of a southern belle in a racial context. Identifying the
comparisons between the two characters will bridge the importance of each
character. Understanding the significance of each character as figure singularly
then as a figure in addition to one another, exploring Mammy’s racial stereotype
and comparing the commonality of qualities. Although the women are different
when comparing the notion of dependence similar characteristic are established.
Using the critical readings from Clinton and McEyla to build upon this debate an
understanding of the limitations, freedom, gender, race, ownership, heritage and
relationships will be presented.
Pro- slavery in the old south is common example of regional patriotism in
southern romanticised literature and is frequently referenced in Gone with the
Wind, a novel of which is intimate with history defending the passionate
tradition of many southerners in the US71. This southern ideology is subject to
“popular memory of certain patters and stereotypes of race relations” according
to L D. Reddick. One example of a character who portrays historical racial
stereotyping is Mammy, expressing manipulated historical accounts72. This
romanticised image of the Mammy figure was not uncommon for 1930’s
American literature, “The Mammy figure serves the political, social and economic
interest of mainstream white America”73.
The fictional representation of the Mammy figure is a long loved relationship
between the black enslaved women of the white southern household. This
depiction of a faithful slave has been plausible by white southerners for years,
71 L.D Reddick, “Pro- Slavery Thought in the Old South by William Sumner
Jenkins; Gone with the Wind by Margaret Mitchell, Vol. 22, No. 3, (1973):363
72 Reddick, “Pro-Slavery”,365
73 Ferris State University: Jim Crow Museum of racist memorobila,
<http://www.ferris.edu/jimcrow/mammies/>, accessed 20.02.15

28
resembling a false image of enslaved women in the Antebellum period74
emphasising the notion of a stereotyped region and history which has been
adapted and altered to fit a southern comfort mentality. This concept is secured
in Gone with the Wind, which is the canvas for the illustrated racial stereotypes
and ideological image of the south.
Historical inaccuracies prevail in the film, Catherine Clinton identifies one of
Selznick’s first historical inaccuracies when she refers to the opening scene of the
black cotton pickers contentedly harvesting in spring making it a more attractive
image, in fact it was harvested in late summer and would a painful and arduous
task75. Viewers are made aware of the season with opening credits establishing
the news of the ‘April 1861 attack on Font Sumter’76. Also inaccurate is the
comical use of the joyous black characters and the outspoken character of
Mammy in particular portrays a positive and false vision of slavery. Slaves were
oppressed, overworked, underfed and fearful of their masters77.
The figure of Mammy prompts reassurance to the southerner that a true
relationship between Mammy and the white southern family was loved,
cherished and accepted by both races78 a notion portrayed in the representation
of Mammy and Scarlett. The faithful and loving attitude shown by house slaves
to white families was unrealistic in the representation of Mammy79. Dependency
and reliance is theme between Scarlett and Mammy and Scarlett and male
relationships, showing similar emotional attachments, of which the characters of
74 Micki McElya, Clinging to Mammy the faithful slave in twentieth century
America, (USA: Harvard University Press, 2009) 4
75 Alvin H Clement, Cotton Picking Boy: 1932 though 1939, (Indian: Iuniverse,
2002), 129
76 The University of Virginia: The Depiction of African Americans in David
Selznick’s Gone with the Wind,
<http://xroads.virginia.edu/~ma99/diller/mammy/gone/depiction.html>,
accessed 10.11.14
77 Joy R. Bostic, African American Female Mysticism: Nineteenth Century Religious
Activism,(USA: Palgrave McMillan, 2013), 76
78 McElya, Clinging to Mammy, 4

29
Scarlett and Mammy will be explored later. The twentieth century was suffused
with images and stories of the faithful slave; the figure of Mammy came to
represent equality and positive image of slavery, which was seen as beneficial to
both parties80.
Symbolism is significant to southern history in that Scarlett and Mammy both
originate from historical figures. However Scarlett as fictional figure, is a positive
example of southern history and femininity, Mammy is also regarded as fictional
figure in the film and novel. However the figure of Mammy, signifies
powerlessness, gender constraints, racial history, brutality and death, a much
less romantic vision of the south.
Limitations and restrictions are presented in the display of the character Mammy
played by Hattie McDaniel, costume choices emphasis these inabilities. Walter
Plunkett the costume designer describes Mammy’s dress, “dress over laid with a
plain white apron”81. A simplistic and authentic representation of a female house
slave uniform, it is a contrast to the opulent gowns of the southern white women,
of whom mammy served. Mammy’s costume is significant in that it emphasises
Mammy’s duties.
At first glance the costume design for Mammy seems very appropriate in terms
of history and relevance to duty. However beyond the illustration lies a collection
of complex messages, which suggest depictions of the character in a racial form.
The white apron around the waist could symbolise the tightness and control of
white authority upon the black enslaved character. The white neck scarf
signifies a possible darker meaning and potentially forces the viewer to refer
back to the death and lynching of slaves as well as the reference to animalistic
characteristics of black slaves and the notion of an animal collar or neck chain.
To complete the outfit a simple head wrap which too contains an abundance of
81 Harry Ransom Centre: Producing Gone with the Wind costumes Mammy, <
http://www.hrc.utexas.edu/exhibitions/web/gonewiththewind/costumes/mam
my/#top>, accessed 01.02.15

30
crucial messages significant to the white slave owner but also those enslaved.
The head warp was traditionally an indication of poverty and subordination by
the slave owners. However indicated an object of oppression a reminder for the
slaves of their ownership. The head wrap could be compared to a bandage, which
is used to protect, secure, support a method adopted when injury or pain is
caused to an area and is considered the method used in the healing process. The
healing of the slave’s brain, the images they have been subject to the pain, which
they have endured now compressed, with a head wrap. Alternately the head-
wrap can be viewed as a central component in traditional African culture and
symbolises heritage as well as a sign of communal identity82. Heritage and
culture are two central components, which Mammy and Scarlett share.
Alongside the negative reflections of costume for Mammy, the choice of language
and dialogue also suggests racial stereotypes. Plantation creole is the language,
which is spoken by the African American characters in the film; a language,
which has developed in the African American communities and often holds a
negative racist stereotype83. The language used is simplified and shortened in
comparison to the language and dialogue of the white characters in the film,
enabling the viewers to immediately differentiate the characters in terms of role,
duty, class and race before they visualise them. Mammy has the clearest accent of
the slave characters84 she has a calming influence on Scarlett, almost an angel in
comparison to Scarlett’s wilful and rebellious character. Despite Mammy having
a simplistic and racial form of language she demonstrates intelligence and
common sense . The importance of dialogue and accent for the black actors did
not have the same emphasis as the importance of Scarlett’s character, mirroring
the inequality in the characters.
82 PBS America: Slave women and the head-wrap,
<http://www.pbs.org/wnet/slavery/experience/gender/feature6.html>,
accessed 21.02.15
83David Sutcliffe, “Gone with the Wind evidence of 19th century African American
speech*”, (1997): 127
84 Roger Ebert, “Gone with the Wind”, Roger Ebert.com, 1998, <
http://www.rogerebert.com/reviews/great-movie-gone-with-the-wind-1939>,
accessed 19.02.15

31
The relationship between Scarlett and Mammy is a unique and complex, similar
to Scarlett’s dependency on male characters, Mammy is also dependant on
Scarlett in that Scarlett is her owner. A maternal connection between the two
characters can be seen in the opening scene when Mammy encourages a young
Scarlett to eat, dresses her with a bib and enforces boundaries regarding
Scarlett’s attire85. This argument of Mammy embodying maternal characteristics
is also supported by The University of Virginia. Reference to Mammy’s
positioning in the film not only evokes racial awareness but also significance in
emotional support towards Scarlett. Mammy is often positioned behind Scarlett,
enforcing the notion of racial dynamics and importance as well as the image of
Scarlett’s emotional support. Reference to Mammy’s direct language is noted,
presenting as outspoken and enforcing of rules emphasises the mother daughter
relationship between the two but also indicates an unrealistic view of the
authority and power of black characters in the film86.
Despite there being many differences between the two characters in terms of
race and social status, a common ground is established between some of the
characteristics Scarlett initially portrays and her transformation of character as
the film progresses.
Importance of heritage is a theme in which appropriate for Scarlett and Mammy.
Scarlett’s father is an Irish immigrant and Mammy is of African decendaence,
however, the importance of heritage is mainly expressed by the southern white
characters. Although initial contrast between the two races prompts the
understanding between each character having a significant heritage. Dialogue
85 John, Maria St, “It ain’t fittin: Cinematic and fantasmic contours of Mammy in
Gone with the Wind and beyond”, vol. 11, no.2, (1999): 134
accessed 10.11.14

32
and language expressed by Mammy emphasises her heritage and refers to the
previous notion of plantation creole. Similarly Scarlett’s father Gerald “stresses
the potency of Irish blood the same way people with African American blood
were automatically categorised as black” an argument made by Charles rowan.
Rowan, later explains how this reflection of heritage for both characters suggests
a bond between land and each other87.
Scarlett and Mammy’s relationship is brought to our attention again when the
film provides a shift in character roles and dynamics, with the scene of Scarlett
returning to Tara. The famous “I’ll never be hungry again” scene presents a
dramatic change in Scarlett’s persona, as she is not representative of definition of
the traditional southern belle. Portraying many characteristics of an African
American slave, a strong connection between Mammy and Scarlett is revealed, as
it would suggest Scarlett has allowed herself to become sympathetic of the slaves
as she undergoes labour and hardship. The scene begins with Scarlett rising from
the ground, suggesting hardship but also resembling a crouched image of a
beaten slave. Scarlett’s hair in this particular scene is noteworthy as there is a
connection to African America hair, with the ‘afro’ like resemblance. The broken
fence, potentially suggests a gateway to freedom, hope and prosperity a vision,
which would have been apparent for those enslaved. However as a viewer the
notion of the faithful slave is restored in that Mammy has stayed in Tara despite
the opportunity for freedom. In turn the dead tree and roots suggest the roots of
Tara but also the metaphorical roots of African American slaves heritage an
ancestry, also potentially symbolising dead slaves, through the symbolism of the
tree and association with life and now life ending. Finally Scarlett’s language
holds significance and relation to Mammy and others who were enslaved. “ No,
nor any of my folk” demonstrates importance in unity an importance shared by
accessed 10.11.14

33
slaves and southerners. This particular scene highlights the connection between
Mammy and Scarlett and identifies the similarities.
Despite much of the complex racial context which can be analysed from the
representation of Mammy, McDaniel played a significant role within her race off
set, featuring in over three hundred films and becoming the first black female to
receive an Academy Award, McDaniel conveyed an image of power, freedom and
strength off screen all of which were not apparent with her character Mammy88.
Making an income of ten times the amount of house servant. McDaniel’s financial
success was significant for her race at the time. However this success came at a
price, McDaniel was living in the Jim Crow era represented many of the
oppressions of a typical African American experienced, such as not being able to
attend the premiere of Gone with the Wind. During the Oscar ceremony, of which
McDaniel was awarded best supporting actress, she was seated at the back of the
room along with other black cast members. Although when receiving the award
she was positioned on a platform above her white cast members, changing the
dynamics within the room and potentially situating her self in an unfamiliar and
uncomfortable setting89. Supporting the view that the abolishment of slavery was
substituted for another form of systematic oppression. McDaniel was even
criticised by the NAACP, for portraying a stereotypical image, which is both
misguided and negative90.
Postproduction concern circulated the black communities and these were
brought to Selznick’s attention in the form of letters from individuals and from
national associations. The America Labour Party argued that Gone with the Wind
88 Carlton Jackson, Hattie: The Life of Hattie McDaniel, (USA: Rowan and
Littlefield, 1993)
89 Hattie’s Lost Legacy, YouTube, (USA, DCW Television, 2014)
90 Bonnie K Goodman, “Hattie McDaniel became the first African American
woman to win an Oscar”, News history and politics, 2008,
<https://bonniekaryn.wordpress.com/2008/03/04/february-29-1940-hattie-
mcdaniel-became-the-first-african-american-woman-to-win-an-oscar/ >,
accessed 10.02.15

34
represented a falsification of US history and was an insult to President Lincoln
and Negro people. Other concerns expressed in historical inaccuracies of the
novel, which were to be portrayed in the film. Belief that the film would evoke
racial prejudice and incite violence against blacks was another concern
expressed by the public. The NAACP, National Association of the Advancement of
Coloured people, wrote to Selznick prior to production of the film urging him to
avoid the use of racially offensive words and aspects, the use of the word
“nigger” and the reference to the Ku Klux Klan were both removed from the film
however racial prejudice was expressed through other forms such as
stereotypical characters and language. Selznick wrote to Sons of the Union
Veterans of Civil War highlighting the expression that Gone with the Wind, is not
a “category of historical document; it is simply a translation into the film of
Margaret Mitchell’s great novel and such is a fiction”. Later Selznick employed a
friend of Mitchells, Wilbur G. Kurtz an amateur historian to present an account
that defended the films accusations of historical inaccuracy. It is questionable as
to why Kurtz was employed when the film previously defends accounts of
portraying inaccurate history with the notion that the film is simply a fiction.
Selznick responded the Walter White, executive secretary of NAACP, letter of
concern of the representation of black characters conveying “servile beings who
are blindly loyal to the whites who enslaved them”, with his opinion that “Gone
with the Wind, is a “splendid tribute to the loyal and fine character of the negro”91
suggesting Selznick’s racist view. However McDaniel can be celebrated for her
success as a black African American woman of her time but also can be viewed
negatively due to her willingness to act in such a stereotypically racial role.
The comparison of the southern belle, Scarlett and the enslaved character of
Mammy provide a complex example of how two women separated by race can
both represent positive and negative images. Scarlett can be viewed as a positive
representation for females, in the strength and power however this image is
stained by the notion of Scarlett a southern belle illustrating a historical image of
91Harry Ransom Centre: Producing Gone with the Wind, Fan Mail Database
Protests, < http://norman.hrc.utexas.edu/gwtw/?cat=Protests&story=12#top>,
accessed; 10.02.15

35
slavery. Similarly Mammy, represents positive qualities, of loyalty, humour and
self control, however these qualities are supressed with images of inaccuracies
and slavery. In some scenes Mammy represents a white character, with her
authoritative attitude and uncommon slave characteristics and qualities.
Similarly it can be said that Scarlett resembles a black slave character with her
work ethic and unbalanced southern belle qualities, which are transformed
throughout the film.

36
Taylor describes Gone with the Wind as “perpetuated, white myth of the south for
international readers and audiences through the century”, emphasising the
notion of the falsification of historical representation and depiction of
characters92. One of the ways in which Gone with the Wind has continued to
attract such a wide audience is the element of nostalgia, this notion is corrupted
however by the historical accounts which oppose much of the detail expressed in
Gone with the Wind. Mary Condé refers to some of the African American
responses to Gone with the Wind as “literature for the tribe”; later literature
demonstrated the slave’s perception of the south. The film presents a
‘documented partnership’ according to Condé, a representation of romanticised
history, prejudice of the African American community. The old south and lost
cause is fundamentally ‘glamorised, sanitized and merchandised’ an image
challenged by varied responses, Condé and Taylor identify the mythical white
fantasy of slavery.
Readers and critics have explored counter narratives in recent years through the
publication of slave narratives. William W. Nichols suggests that another way to
understand the emotions and accuracy of slave narratives and southern history
is to explore thoughts and feelings of those enslaved and assess behavioural
situations reported by masters93. The slave narratives tell a very different story
to that of the slaves in Gone with the Wind, raising issues of violence, brutality,
anger and oppression.
A twenty first century counter narrative was novel and film from Alex Haley’s
autobiography, Roots, which was quickly referred to as the “black Gone with the
Wind” Haley was reported as the ‘new national hero’, this time a black man, the
opposite of a white female author.94 Root’s, had a huge success, translated into
thirty- eight languages and distributed to twenty-eight countries; reaching a far
wider audience than Gone with the Wind95.
92 Taylor, Circling Dixie, 63
93 William W. Nichols, “Slave Narratives: Dismissed evidence in the writing of
southern history”, vol 32, no.4, (1971), 403

37
The practice of response to Gone with the Wind and adapting notions of the
southern belle and white supremacy, began with Roots, but since Taylors
publication of Circling Dixie in 2001 several other forms of literature have been
published which also suggest further African American responses to the film and
novel, which have given oppositional representations of slavery in the south.
The first of the series of revisionist literature and responses, stem from Alice
Randall’s ‘unauthorized parody’, The Wind Gone Done, written by an African
American and using an African American female as the narrator of the novel.
From the viewpoint of the mixed raced character, Cynara, the daughter of
Scarlett’s father and who’s mother is the most notable black female figure in the
film and novel, Mammy. Claire Davis, reporter for CNN reviews Randall’s novel,
in which the view of a black woman is shared opposing the ideological, and some
would argue mythical southern belle as told by Mitchell. The central themes of
slave loyalty, connection to land and ownership remain, however they are
positive portrayals in Mitchell’s novel, which are questioned and challenged by
Randall 96. The novel gives the back community a voice and validates
inaccuracies expressed in Gone with the Wind. Dual importance of satire and the
reclaim of southern history are presented in this response.
The most recent response to Gone with the Wind is Donald McCaig’s authorised
novel celebrating the 75th anniversary, Ruth’s Journey. The novel similar to
Randall’s positions the narrative of an African America as the central storyline,
however McCaig’s novel presents a different portrayal of slave narrative and is
expressed with less of a sense of comic relief. In a recent interview with McCaig,
the notion of giving Mammy a name and a story, is explained. The radio station,
‘WBSM’ interviews McCaig who elaborates on his reasoning behind this, his
influences and motives. McCaig explains the importance of giving Mammy a
96 Claire Davis, “Review: ‘The Wind Done Gone’ a mild breeze”,
CNN.Com/Entertainment, June 29, 2001

38
voice, a representation, which has not been explored prior to this publication.
Exploring Mammy’s relationships is a constant theme, along with emotional
racial connections to characters and a story of childhood and heritage. McCaig
identifies the complex nature of Mammy in that the novel is written in third
person and the voice of Mammy is not heard until the final third section of the
novel, emphasising the lack of ‘voice’ Mammy has97. It explores Mammy as a
character with equality and the opportunity to tell her story however this notion
is made difficult as Mammy originally represents a positive figure, it is
questionable as to how can she be reclaimed? Peter Borland, editorial director at
Atria Books, expresses his view regarding, Ruth’s Journey describing it as
compelling with reference to complex issues regarding race. His interpretation is
that the novel gives independence and freedom to the character of Mammy,
another example of her ability to ‘voice’ her narrative98.
Roots, The Wind Done Gone and Ruth’s Journey represent unique responses in
terms of southern romanticised fiction and southern mythology. Focusing the
attention on black characters, and providing them with a voice and their story, a
huge contrast to the glamorised and unauthentic representation of the Gone with
the Wind characters.
A more extreme response is the 2013 Steve McQueen, 12 Years a Slave film a
complex contrast is established between the two films, both opposing each other.
Seventy fours years apart the two films express a complex representation of the
vision of a romanticised south from a white southern perspective and a brutal
and violent south from a black enslaved perspective. Ronda Racha Penrice
supports the contrast between the two films naming Gone with the Wind as
celebratory of “Southern plantation way of life and harmonious ideal” and 12
Years a Slave which “does not shy away from slavery’s inhumanity and
brutality99. John Patterson reporter for the Guardian describes 12 Years a Slave
97 Ruth’s Journey: Donald McCaig gives Gone with the Wind’s Mammy a story,
YouTube, WBSM 1420AM, 2014
98 Behind the book” Ruth’s Journey, Simon and Schuster, YouTube, 2014
99 Ronda Penrice, “Gone with the Wind, 75 years later: How Hattie McDaniel’s
Oscar win reflected on Hollywood”, The Grio, 2014, < The Giro:

39
as a “Polar opposite” to Gone with the Wind, and addresses the surrounding
concern as to why Gone with the Wind seen as a film of the Golden Age in
Hollywood is being re-released several months before the representation of
black slavery in the south through images of pain, violence and sexual abuse.
Patterson continues to express the portrayal of black characters as “staunch in
defence of their own enslavement” in Gone with the Wind, something that is
completely reversed in 12 Years a Slave, where black characters represent a
realistic vision of enslavement in the south and brutality and oppression is
expressed dramatically.
Race complexity is apparent through Gone with the Wind, portraying a positive
image of race relations, which is further emphasised with the Oscar awarded to
McDaniel. Therefore the responses also resemble a complex theme, ranging
from satirical approaches and the reclaiming of Mammy. Changes in America
have enabled black communities to present the reality of slavery; this would
have been impossible and uncelebrated during the civil rights movement and Jim
Crow era. Therefore this demonstrates an understanding between the
contrasting representations of the south prior to racial equality. Patterson
describes the absence of slavery from American cinema as “race its self was
simply airbrushed wholesale from its version of history” however now the
African American true story is being expressed100.
In addition to the contrasting responses of Gone with the Wind popularity of the
classic film has been brought to our attention with the 75th anniversary. The
internet is exploding with excited fans ‘un boxing’ the limited edition 75th
anniversary Blu-ray box set and documenting this moment for the world to
see101. Despite the opposing responses to the film there is still a world of fans in
love with the southern classic. Interestingly the 75th anniversary edition includes
http://thegrio.com/2014/03/02/gone-with-the-wind-75-years-later-how-
hattie-mcdaniels-oscar-win-reflected-on-hollywood/>, accessed 26.02.15
100 John Patterson, “Gone with the Wind didn’t give a damn about slavery”, The
Guardian, November 18, 2013, <
http://www.theguardian.com/film/2013/nov/18/slavery-gone-with-the-wind>
101 Gone with the Wind: 75th anniversary Blue- Ray unboxing, WeLiveFilm,
YouTube, 2014

40
a thirty-minute documentary acknowledging the civil war epic portrayal of
slavery, which is said to be dated and inaccurate, opposing Selznick’s employed
historian’s who have attempted to defend the historical events in the film.
The description of Scarlett has also seen a change in the 75th anniversary,
describing her character as a “spoiled, old south socialite”102 different from the
previous claims of the belle known as “strong-willed and powerful”, suggesting,
for some a change in the vision of southern belle103.
In conclusion the southern belle is viewed as a feminist example of
empowerment and a figure that pushes the boundaries of gender politics. She
can also be seen as a representation, a glamorised and romanticised image of the
south, glossing over representations of slavery. It is fundamental to understand
that the southern belle and Gone with the Wind are considered as racist
depictions post the representations of slave narratives and enslavement seen
through film but also through a nation which has become more accepting of
racial equality. Taylor describes her personal experience with Gone with the
Wind as, “ a world of omnipresent women and intermittently stable and
dependable men; it showed a society held together- often against heavy odds- by
women’s energy, labour and ability to ‘make do and mend’; and it presented men
as objects of mystery and fantasy, creatures who seemed to offer strong
shoulders for women to lean on but all too often vanished into the night, assuring
women how capable they were on their own”104. Much of Taylor’s response to
the character of Scarlett and her impression of Gone with the Wind, is still true
today however racial comparison and the portrayal of slaves such as Mammy in
the film, allow this vision to be a complex debate which is still continuing today.
102 Assosicated press reporter, “Gone with the Wind celebrates 75th anniversary
in lavish style as ugly portrayal of slavery lingers”, Mail online, September 28,
2014

41
As much as the criticism towards black characters conveying messages of
inaccurate representations of enslavement, Alex Heigl presents describes how
Martin Luther King in the same time period of the premiere of Gone with the
Wind, reportedly acted the role of a enslaved character, at the age of ten singing
at the Ebenezer Baptist Church, behind a mock-up background of Tara. There is
little known about this event and so it is unclear if the vision of the film was
accepted as accurate by this black community or if another message was being
portrayed.
At the time of writing Gone with the Wind Mitchell believed she was telling a true
and accurate story, based on her own experiences, her grandmother had lived
through the civil war and her home had been used as a hospital during that time.
It is only as time passed and the civil rights movement empowered the black
community were the arguments against the accuracy expressed. Gone with the
Wind is seen as a type of fantasy, something at that time which would have been
popular with the white American community and possibly to some of the black
community. Written during the depression the film was popular as giving a
positive image of America and is a type of fairy tale, in which good prevails. It is
easier to live with than the painful, distressing and shameful reality of America’s
history portrayed in later more accurate publications. It is possible that the
world continues to want be entertained by ‘happy endings’ in novels and films
as although Kathryn Stockett The Help gives, some would argue a realistic image
of black servants and although suggests empowerment it is seen by many as a
tale of a white women using the black servants to empower herself. At the
Oscar’s ceremony in 2014, when 12 years a slave won best film the first person to
speak at the awards was a white actor and not the black actor who was the main
character which continues to signifies inequality and adds to the complex debate
in this thesis.105
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Film and Media
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Gone with the Wind: 75th anniversary Blue- Ray unboxing, WeLiveFilm, YouTube,
2014
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& The Stephens Mitchell Trusts. Turner Entertainment Co, 2014
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Hattie McDaniel, YouTube, 2001
Jackson, Carlton, Hattie: The Life of Hattie McDaniel, USA: Rowan and Littlefield,
1993
Ruth’s Journey: Donald McCaig gives Gone with the Wind’s Mammy a story,
YouTube, WBSM 1420AM, 2014

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