Visit the Ransom Center’s exhibition The Making of Gone With The Wind, which reveals why Gone With The Wind remains influential and controversial 75 years after it was released. View rarely seen items—photographs, storyboards, fan mail, and costumes including the green curtain dress—all drawn from the Ransom Center’s collections. Don’t miss this blockbuster exhibition, on view through Sunday, January 4. Want to see the exhibitions without the crowds? Become a member for access to member-only exhibition hours which occur each weekend from 10 a.m. to noon. View holiday hours at the Ransom Center.
Share a year of literature, film, photography, and art by giving a gift membership to the Ransom Center. The festively-wrapped membership includes a year of private member events, behind-the-scenes experiences, invitations for the Alice’s Adventures in Wonderland opening party, and more. Purchase your tax-deductible gift membership ONLINE by Monday, December 15 or pick up on-site at the Ransom Center through December 23.
Pick up the perfect holiday gift from the Ransom Center’s pop-up shop. The shop features the exhibition catalog for The Making of Gone With The Wind, custom “Fiddle-Dee-Dee” and “Frankly, My Dear” t-shirts, books related to the exhibition, and more. Have a writer or artist on your holiday list? Pick up a Moleskine journal featuring the Ransom Center’s etched glass windows. Other Ransom Center merchandise includes one-of-a-kind totebags and banners made from past Ransom Center exhibition banners, coffee mugs, and Ransom Center baseball caps.
Daily public tours of The Making of Gone With The Wind are offered at noon, as well as Thursdays at 6 p.m. and Saturdays and Sundays at 2 p.m. A selection of Gone With The Wind screentests are shown in the Ransom Center’s theater at 1:30 p.m. and 3:30 p.m. on weekends.
The Ransom Center will be closed on Christmas Eve Day (Wednesday, December 24) and Christmas Day (Thursday, December 25). However, the Ransom Center Galleries will be open the rest of winter break on Mondays, Tuesdays, Wednesdays, and Fridays from 10 a.m. to 5 p.m., Thursdays from 10 a.m. to 7 p.m., and on Saturdays and Sundays from noon to 5 p.m. Additional member-only hours will be available from 10 a.m. to noon on Saturday and Sunday.
Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Saturday, December 20, through Thursday, January 1.
Free docent-led gallery tours occur daily at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on the closed days of Wednesday, December 24 or Thursday, December 25.) The public tours meet in the south atrium, and no reservations are required. On weekends, a selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater at 1:30 p.m. and 3:30 p.m.
Admission is free. Your donation will support the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.
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Image: Scene concept for “Christmas at Aunt Pittypat’s in Atlanta” in Gone With The Wind.
Please be aware that the Ransom Center will be closed on Thanksgiving Day. However, the Ransom Center Galleries will be open on Friday, November 28, from 10 a.m. to 5 p.m. and from noon to 5 p.m. on Saturday, November 29, and Sunday, November 30. Additional member-only hours will be available from 10 a.m. to noon on Saturday and Sunday.
Free docent-led gallery tours will occur daily at noon and at 2 p.m. on Saturday and Sunday. The public tours meet in the south atrium, and no reservations are required. A selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater on weekends at 1:30 p.m. and 3:30 p.m.
Admission is free. Your donation supports the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.
The Ransom Center’s Reading and Viewing Rooms and administrative office will be closed on Thursday, November 27, and Friday, November 28, and will reopen on Monday, December 1.
Share your love of film, literature, and photography this year by giving a gift membership to the Ransom Center. Purchase online or at the Ransom Center’s visitor desk.
Image: Norman Bel Geddes draws a concept for a Macy’s Thanksgiving Day parade float, ca. 1926. Unidentified photographer.
Letters poured into producer David O. Selznick’s office on the proper use of Southern accents in Gone With The Wind. One woman wrote, “Come South and study our dialect. I don’t know your people as you do, but it cuts deep when we see our lovely old Southern life ‘hashed up.’”
Clark Gable employed a dialog coach, but two days before filming, Selznick learned that Gable was refusing to use an accent. Selznick then had Will Price, from the casting department, and Susan Myrick, a technical advisor, work on coaching the actors in the use of an appropriate accent.
Price and Myrick, in a memo to Selznick and director George Cukor, wrote, “we find that the script includes innumerable attempts at written southern accent for the white characters. Both Miss Myrick and I strongly agree that this is extremely dangerous as it prompts the actors immediately to attempt a phony southern accent comprised merely of dropping final ‘ings’ and consonants. A phony southern accent is harder to eradicate than a British or western accent.” They then advise that the script should be retyped, without the written southern accents.
Filming went on hiatus as Selznick replaced director George Cukor with Victor Fleming. Selznick wrote to studio manager Henry Ginsberg about his concerns over the accent during this period: “We know that Leslie Howard has made little or no attempts in the direction of accent and since he is on our payroll there is little excuse for this…. I am particularly worried about Vivien Leigh since she has been associating with English people and more likely than not has completely got away from what was gained up to the time we stopped.” Leigh was already under fire from the media and many Southerners for being British, so it would have been doubly ruinous for the film if she were unable to employ an accent.
Memos related to the actors’ accents are on view through January 4 in the Ransom Center’s current exhibition The Making of Gone With The Wind. A fully illustrated exhibition catalog of the same title is available. Co-published by the Harry Ransom Center and University of Texas Press, the catalog includes a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne.
“I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.” –Dylan Thomas (1914–1953)
Dylan Thomas in America—A Centennial Exhibition, which opened yesterday at the 92nd Street Y’s Weill Art Gallery, chronicles the poet’s experiences in the United States between his first visit in 1950 and his death in 1953. The 92Y’s Kaufman Concert Hall hosted the Welsh poet and author for his first American reading. The exhibition includes 19 facsimiles from the Ransom Center, including letters, postcards, photos, and manuscript pages. Images of a handwritten draft of Thomas’s Under Milk Wood, some correspondence, and Thomas’s “self-portrait” will be on view.
Thomas is now considered one of the most important Welsh poets of the twentieth century, and it was during his American tour that he wrote his most well-known piece, Under Milk Wood.
The Ransom Center’s Dylan Thomas collection consists of manuscripts, correspondence, notebooks, drawings, financial records, photographs, galley proofs, page proofs, and broadcast scripts. The Ransom Center also holds more than 280 photographs related to Thomas.
Listen to a reading by actors, including Michael Sheen, of Thomas’s Under Milk Wood, from the opening night of the exhibition.
Gone With The Wind’s scriptwriter Sidney Howard had the difficult task of converting the 1,000-page novel into a film script that was not too long, without sacrificing key elements of the novel. One of producer David O. Selznick’s concerns was that all problems be caught before filming started, because cutting scenes out would be more expensive than having an appropriately long script written in the first place. To help Howard, Selznick and his story editor Val Lewton employed the skills of other scriptwriters and authors.
In October 1938, Selznick sent the script to two top MGM scriptwriters, Lawrence Stallings and Bradbury Foote, for help editing. The men, under confidentiality, had eight days to make their suggestions.
Foote’s editing gave the film a happy ending, destroying one of the novel’s most emotionally powerful scenes. In Foote’s rewrite, Rhett does indeed leave, but Mammy thrashes the famous “Tomorrow is another day!” speech, telling Scarlett, “Never you mind tomorrow, honey. This here is today! There goes your man!” The scene dissolves to a shot of a railroad station. Scarlett corners Rhett in the car of a train, entreating, “Oh, Rhett! Life is just beginning for us! Can’t you see it is? We’ve both been blind, stupid fools! But we’re still young! We can make up for those wasted years! Oh, Rhett—let me make them up to you! Please! Please!” He kisses her hands, and the scene fades out. Selznick considered this rewrite “awful.”
Selznick employed a host of other writers to help find creative ways of combining scenes from the novel, and almost all of the writers who worked on the script did so after filming had commenced. Writers F. Scott Fitzgerald, Ben Hecht, John Van Druten, John Balderston, Ronald Brown, and Edwin Justus Mayer briefly worked on the script. In a memo from Fitzgerald to Selznick, Fitzgerald proposes that Scarlett’s miscarriage be cut. The death of Bonnie, Scarlett’s miscarriage, and Melanie’s death in childbirth, all in rapid succession, would be too much for the audience to endure. Fitzgerald mentions that the miscarriage seems less sorrowful in the book because Scarlett already had three children. He writes, “There is something about three gloomy things that is infinitely worse than two, and I do not believe that people are grateful for being harrowed in this way.”
Pages from various drafts of the screenplay are on view through January 4 in the Ransom Center’s current exhibition The Making of Gone With The Wind. A fully illustrated exhibition catalog of the same title is available. Co-published by the Harry Ransom Center and University of Texas Press, the catalog includes a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne.
Meet the Staff is an occasional series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center. Albert A. Palacios has been the Film Curatorial Assistant at the Ransom Center since January 2010 and is a doctoral student in Latin American history at The University of Texas at Austin. He holds a Master of Science in Information Studies and a Master of Arts in Latin American Studies from The University of Texas at Austin. He was recently awarded the 2014 prize for best graduate essay for Book History. The judges noted “Not only is his research breathtaking, he offers a whole new approach to the issue of Spanish colonial censorship, and beyond that, a new perspective on the mechanics of censorship in general.”
Typically I manage eight to 15 graduate volunteers working at the film department each semester. We work on a range of projects, from creating digital collections and preserving film media to processing archives. However, this past semester we had 24 graduate and undergraduate students helping develop content for the web exhibition Producing Gone With The Wind.
Tell us about your role in the exhibition The Making of Gone With The Wind?
I was the project coordinator for the Gone With The Wind fan mail database, which shares thousands of letters that Selznick International Pictures received between 1936 and 1939. I recruited and trained graduate volunteers on preparing letters for scanning, digitization, image cropping, database records, transcription, as well as writing feature stories about the different types of letters. I also reviewed for quality and approved each entry. To date, we have records for more than 3,000 letters and transcripts for more than 6,000 pages.
What’s the most rewarding part about your job?
I think working with the volunteers is the most rewarding. They help us accomplish many high-quality projects, and they are always so excited and engaged. I am particularly glad to see that the myriad experiences and skills we offer can support their professional development. They help us preserve and make our collections accessible, while we help them define their career aspirations.
Tell us about your academic background and interests.
I started as an undergraduate at UT, pursuing a dual degree in architecture and anthropology. I knew I didn’t want to be an architect or an archaeologist when I finished in 2009, but I still wanted to explore questions of design and cultural representation. I started looking at museum exhibition design while I was studying architecture in Italy. That was when I decided to combine my architecture and archaeology/anthropology majors within the context of museums and archives at the School of Information. I graduated with my master’s degree there and jumped over to Latin American studies, where I wrote my thesis on book censorship in sixteenth-century Mexico. After receiving my master’s degree, I began in the history Ph.D. program. Ultimately, I’m working toward becoming a curator of Latin American special collections.
Did you travel to research your thesis?
I have gone to Mexico City, Chicago, New York, and other U.S. cities the throughout past two years to hunt down Mexican “inculabula” and manuscript sources that elucidate publishing practice in sixteenth-century Mexico. I am analyzing the censorship process, printing privilege (akin to copyright) and the social networks that intellectually and economically favored New Spain’s authors. I’m happy to say that two papers from that research are being published this year—one will be a chapter in a book and another in an academic journal.
What’s your favorite movie?
Spellbound! I’m a big fan of psychological thrillers. At the Ransom Center, we have original storyboards, construction drawings, and props that were created for the movie’s dream sequence.