The Civil War On Film – 18 in a series – Mitchell was writing from the only perspective she had been taught, the myth of the benevolent slave master

The Civil War On Film - 18 in a series - Mitchell was writing from the only perspective she had been taught, the myth of the benevolent slave master

The criticism GWTW engendered then and now center on the omission of any real depiction of the horrors of slavery. Outside of Scarlett slapping Prissy on the day the maid admits knowing nothing about childbirth (despite bragging about her expertise for weeks), none of the major characters ever mistreats a slave. Critics might fault Mitchell for not doing enough historical research before undertaking the story, but Mitchell was writing from the only perspective she had been taught, the myth of the benevolent slave master, not from the perspective of an enslaved main character. Still, this first error of omission is the most blatant error.

Movies profiled in this book:

The Civil War On Film – 17 in a series – Often these maids were related to their mistresses, as in the case of Sally Hemmings…

The Civil War On Film - 17 in a series - Often these maids were related to their mistresses, as in the case of Sally Hemmings...

Supervision of the drudgery work done by enslaved women kept women of both positions in daily contact. Enslaved maids slept on pallets on the floors of their various mistresses’ rooms to be awoken whenever necessary through the night. Often these maids were related to their mistresses, as in the case of Sally Hemmings, maid and half-sister to Martha Jefferson on the Monticello plantation, which created complex relationships and widely reported whispers among women of both stations of life.

Movies profiled in this book:

The Civil War On Film – 16 in a series – As a producer interested in maximizing his profits, Selznick worked hard to head off any possible protest.

The Civil War On Film - 16 in a series - As a producer interested in maximizing his profits, Selznick worked hard to head off any possible protest.

As a producer interested in maximizing his profits, Selznick worked hard to head off any possible protest. The NAACP took issue with the use of the n-word in the book, so the script used the word “freedmen” instead. Selznick also conceded to veterans of the Union army. In the book, Scarlett shoots one of Sherman’s soldiers after he menaces her with rape. In the film the soldier becomes a deserter who was going against Sherman’s orders to not harm citizens on the March to the Sea.

Movies profiled in this book:

New Book by IGE Lecturers Critique the Civil War in Films via PolyCentric [News]

New Book by IGE Lecturers Critique the Civil War in Films via PolyCentric [News]

Recently my co-author Peg Lamphier and I sat for an interview about our Civil War on Film book to discuss the American film industry’s depiction of the American Civil War and the mythologies and ideologies surrounding the experience of that war. 

We completely destroy any idea that there is something noble and admirable about the Confederacy. There is not. They fought to preserve human bondage. That should be morally revolting to all twenty-first century Americans and the fact that it is not is a testament to how far we still have to go to heal the wounds of our nation’s history of slavery.

Suddenly, the book seems even more timely than when we began writing it 2 years ago. — Rosanne


New Book by IGE Lecturers Critique the Civil War in Films 

For their third book project, lecturers Peg Lamphier and Roseanne Welch, in the Department of Interdisciplinary General Education, decided to write a book examining the American film industry’s depiction of the American Civil War. In their book, “The Civil War on Film,” the authors contend that American films are filled with mythologies and ideologies surrounding the experience of the war and further research is required to uncover the full, real history.

New Book by IGE Lecturers Critique the Civil War in Films via PolyCentric [News]

Peg Lamphier and Roseanne Welch, lecturers in the Department of Interdisciplinary General Education, team up on their third book, which examines the American film industry’s depiction of the American Civil War.

According to the authors, the Civil War, which occurred from 1861-1865, is contested ground both among historians and the general public. They argue that most are clear about the anti-slavery aims of the war, as well as the fundamentally treasonous nature of succession, but neo-Confederates cast the war in terms favorable to their white supremacist agenda.

In a joint statement, Lamphier and Welch wrote, “Our book is entirely unsympathetic to the Neo-Con/Lost Cause agenda and so we’re engaged in a vigorous refutation of a number of pro-Confederate myths that serve to hamper racial equality in modern America. We hope readers will better understand the nature of the war and the troubled way it’s been filmed as they work through our book. We also hope it shows readers that films always engage in a bit of fictionalization in order to heighten the drama.”

Read this entire article

Other Welch/Lamphier Books

The Civil War On Film – 15 in a series – “…a Civilization gone with the wind.”

The Civil War On Film - 15  in a series -

Then the scrolling text promises the audience a story about “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.”

Movies profiled in this book:

The Civil War On Film – 14 in a series – “Yet Mitchell created a heroine who never glorified the “Lost Cause” the way other characters in the movie did”

The Civil War On Film - 14  in a series -

Yet Mitchell created a heroine who never glorified the “Lost Cause” the way other characters in the movie did. In fact, Mitchell urged producer David O. Selznick to hire her friend, Susan Myrick, a newspaper columnist from Macon, Georgia, as a technical consultant precisely because of her “common sense and utter lack of sentimentality about ‘The Old South’” (Flamini 1975). Yet, in spite of Scarlett’s own practical attitude, the film does glorify the Old South and conform to Lost Cause mythology.

Movies profiled in this book:

The Civil War On Film – 13 in a series – Movies that make dubious historical claims can provide rich opportunities for learning…

The Civil War On Film - 13  in a series - Movies that make dubious historical claims can provide rich opportunities for learning...

Movies that make dubious historical claims can provide rich opportunities for learning. Each of the movies we chose for this volume do a different kind of work and were ‘big’ enough films that they are still widely available should a reader chose to watch them. We also tried to pick films that covered a wide swath of film history or were representative of a certain type of Civil War movie. Most importantly, each film allows for a discussion of different facets of Civil War history.

Movies profiled in this book:

The Civil War On Film – 12 in a series – Reformer Jane Addams condemned the film as ahistorical and prejudiced…

The Civil War On Film - 12  in a series - Reformer Jane Addams condemned the film as ahistorical and prejudiced...

Though the NAACP had little success banning the film, in part because film boards were all white and in part because the film was a monster success, they did prompt a national discussion about the film’s racism. Reformer Jane Addams condemned the film as ahistorical and prejudiced, while President Woodrow Wilson, himself an ex-historian (if such a creature can be said to exist), believed the film “terribly true.”

Movies profiled in this book:

The Civil War On Film – 11 in a series – “This national enthusiasm for the Lost Cause…”

This national enthusiasm for the Lost Cause

Lost Cause ideology, in its many iterations, maintained its grip on American movies for nearly eighty years, from Birth of a Nation (1915) to Gettysburg (1993). This national enthusiasm for the Lost Cause suggests white Americans, regardless of their regional roots, enjoy and believe the narrative.

Movies profiled in this book:

The Civil War On Film – 10 in a series – …Thomas Ince’s films cemented the Plantation Myth.

The Civil War On Film - 10  in a series - ...Thomas Ince’s films cemented the Plantation Myth.

While D. W. Griffith is the most famous early Civil War filmmaker, Thomas Ince’s films cemented the Plantation Myth. Unlike Griffith, Ince had his family roots in New England, though he fell under the pro-southern spell early in his filmmaking career.

Movies profiled in this book: