Gone with the Wind

The painting dep guileworked with the sheer (1939) is considered the most beloved, popular and of everlasting relevance. It has won several Oscar a fightds in 1939. Produced by David O Selznick, and directed by Victor Fleming, the germinate was released a few months after WWII began in Europe. It enabled the American viewers to identify with the war and its theme of survival. It was based on a novel written by Margaret Mitchell about civil war and reconstruction in America. Producer, David O Selznick had obtained the icon right to Mitchells novel in 1936 for $50,000. The renowned dart was picture in Technicolor which was utilise very rarely in those times.The historical authorized movie of the Old South during civil war period boasts of an fadeless cast in a timeless, classic tale of love-hate romance. The movie covers the versatile romantic pursuits of the resolute heroine Scarlett OHara, against the background of historical events. Ashley, the man she loves marries her cousin, Melanine. She surfaces it difficult to find love during the civil war years and is forced to seek protective covering for herself and her family in the plantation Tara. She defends it against union soldiers, carpetbaggers and even against starvation. Scarlet marries Rhett Butler just the marriage fails due to her indifference towards him. She again returns to Tara.CinematographyCinematography is the art of making camera and lighting choices when recording photographic images for the cinema.Technio food colouring was not astray used when the film Gone with the Wind was being filmed. Moreover, it carried several disadvantages. Selznick borrowed on the whole the seven heavy, cumbersome cameras of the Technicolor Corporation for shooting. Each picture had colour consulant who had the magnate to reject any colour scheme she felt was incompatible with colour cinematography.Moreover, the technical advisers, who were supposed to assist the cameramans, had only worked with bla ck and white film. Technicolor unavoidable double the amount of lighting for illumination of a scene. Selznick had previously worked with technicolour. He knew that it would be very important in giving Gone with the Wind optical richness needed for a classic drama.Actually, Selznick wanted the films colour to have the aforesaid(prenominal) impact as the characters emotions. He was so determined in it and went to the extent of dismissing the first cinematographer, Lee Garmes, for choosing a colour scheme which Selznick thought was very much subdued. The next cinematographer, Ernest Haller, was more(prenominal) successful in obtaining more glowing effects. Selznick had realized that shadow form an important part in a scenes visual impact. He asked his colour consultant to shoot Scarlett and her father on the hillock at Tara. With the farm gleaming brightly in the distance, the ensuing domain effect strongly emphasizes Geralds feeling about the significance of the land.Selznick em ploys this silhouetting to the equivalent effect in the films final scene, when Scarlett stands on the same mount as she comes home to Tara. Another use of shadow is to spotlight moments that focus on relationship between characters in the film. It is first used in the form of the frightening shadows Melanie and Scarlett cast on the walls of temporary hospital. ulterior on, delivery of Melanies baby is lighted with silver streams of light. The darkness in the scene renders it more personal and gives it a powerful simplicity. (Fleming, 1939). The use of matt painting was another technique which Selznick adapted from black and white film to Technicolour. When a shot is filmed, the area to be painted in subsequently is covered with black matte paint on a shabu screen positioned in front of the camera.Afterwards, a colour scale illustration of the omitted portion is shot to cover the blacked out area. Clarence Silfer, the special effects cinematographer of Gone with the Wind used t he technique to complete a chip of sets that were only partially finished. All, Outhouses, Taras side views, background vegetation, the train dash roof, the twelve oak plantation, the decorations in the old armoury, some of the wounded soldiers duplicity on the ground in long shots, and an entire street of desirous houses, were matte paintingsFilm editingEditing is the art of establishing rhythm in film. People often does not notice or acknowledge the constituent of film editor. Major aspects of the editing of a film are created foreign the editing room. The director, script writer, and photographer are also involved in editing. genius of the responsibilities of the editor is to ensure that intentions of the scriptwriter have correctly been portray in the film. Hal C. Kern, the film editor of Gone with the Wind, won the Oscar award for film editing. One can clearly observe that smooth flow of events which are portrayed in the film. In this film, there is an outstanding use of color for the sweetening of dramatic mood.Production designProduction origin is the in charge of the films art department which consists of an art director, prop master, garb designer and a ser decorator. He works in close association with director, and director of photography to produce films feel and bearing by choosing the right shapes, colours and compositions for each shot. A production designers duties cover far beyond extending support because a movie is eventually a visual medium, its visual material is almost resembling another character, itself producing a mood and bringing out an emotional reaction from the spectators.Production design involves lot of planning and the production designer should be able to strike a balance between his own fictive vision with the films need for authenticity of place and time. Lyle Wheeler, the art director of Gone with the Wind, won an Oscar for his efforts in the movie.Work citedFleming, Victor. Dir. Gone with the Wind, (1939). S elznick I