Abstract
This chapter explores the web of adaptive relations between Margaret Mitchell’s 1936 novel, David O. Selznick’s 1939 film and the Atlanta premiere and reception of Gone with the Wind. Cronin charts the cultivation of an authoritative yet amorphous cultural imaginary, the accompanying drive to obscure processes of artistic and cultural adaptation and the status of African American experience and representation as cultural casualties. Dynamics of re-enactment, (elided) adaptation and investment recur across the material examined in this chapter. These are inherited and navigated by the “Making of” sites that are explored in Chapters 9–11.
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