Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- Introduction: From Belles to Bayous: The Fall of the South on Screen
- Section One The South in the Cultural Imaginary
- Section Two Gothic Visions, Southern Stories
- Section Three The Southern Gothic on Screen
- Section Four Case Studies: Toys in the Attic and Searching for the Wrong-Eyed Jesus
- Conclusion – Fading, But Never Faded
- Bibliography
- Filmography
- Television Series
- Songs
- Video Games
- Websites
- Index
Introduction: From Belles to Bayous: The Fall of the South on Screen
Published online by Cambridge University Press: 15 September 2022
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- Introduction: From Belles to Bayous: The Fall of the South on Screen
- Section One The South in the Cultural Imaginary
- Section Two Gothic Visions, Southern Stories
- Section Three The Southern Gothic on Screen
- Section Four Case Studies: Toys in the Attic and Searching for the Wrong-Eyed Jesus
- Conclusion – Fading, But Never Faded
- Bibliography
- Filmography
- Television Series
- Songs
- Video Games
- Websites
- Index
Summary
Abstract
The introduction outlines the South's shifting status in the cultural imaginary and its subsequent representation on screen in the mid-twentieth century. Where films like Gone with the Wind (Victor Fleming 1939), Song of the South (Harve Foster; Wilfred Jackson 1946), and Jezebel (William Wyler 1938) depicted the Old South as an exalted society built upon a thriving plantation economy, A Streetcar Named Desire (Elia Kazan 1951), To Kill a Mockingbird (Robert Mulligan 1962) and a number of other southern films reconfigured the South as a Gothic and othered space. This sets up the framework for the discussion of the Southern Gothic on screen by positioning it within a sociocultural context that has seen southern otherness disseminated through the tropes, conventions, and iconography of the Southern Gothic genre.
Keywords: Gothic, Southern Otherness, Old South, Slavery, Religion, Fundamentalism
Tell about the South. What's it like there. What do they do there. How do they live. Why do they live at all.
– William Faulkner, Absalom, Absalom!In an upstairs bedroom at the Twelve Oaks plantation house, Scarlett O’Hara (Vivien Leigh) navigates her way around the sleeping bodies of her fellow southern belles who lie strewn, in disorderly fashion, across beds and sofas in the expansive and extravagantly furnished room. Having spent the day socializing, the belles of Clayton County have loosened their stays and surrendered to exhaustion in the heat of the Georgia afternoon. Slave girls, their own discomfort subjugated to the needs of the southern aristocratic class, stand at bedsides fanning the women to create a breeze. A young slave, no more than nine or ten years old, ceases her work momentarily when the heat threatens to overcome her, but she quickly regains her composure and continues fanning in steady rhythmic waves. Scarlett finds a mirror and checks her reflection. She is planning to confess her love to Ashley Wilkes on the eve of his departure for the Civil War – a war that will provide a powerful backdrop for Scarlett's personal transformation from cloistered southern belle to stalwart survivor of war and Reconstruction. Scarlett looks in the mirror and pinches her cheeks to create a blush, then rushes off to find Ashley.
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- Information
- The American Southern Gothic on Screen , pp. 11 - 34Publisher: Amsterdam University PressPrint publication year: 2022