In the aftermath of the June 17 massacre of nine black people at a church in Charleston, S.C., the nation began to reconsider all things Confederate.
The man accused of the crime is an avowed white supremacist who displayed the Confederate battle flag and in other ways invoked the Confederacy in his online manifesto and additional displays.
Following the tragedy, the Confederate battle flag may soon disappear from the grounds of South Carolina's State House, and there have been calls for its removal from Mississippi's state flag. Other prominent Confederate symbols have been questioned, including the statue of Confederate President Jefferson Davis in the Kentucky State Capitol rotunda.
There also have been calls for reconsideration of Gone with the Wind, which coincidentally is this week's feature in the Kentucky Theatre's Summer Classics Series.
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The 1939 film, based on the best-selling novel by Margaret Mitchell, is an icon of cinema. According to Box Office Mojo, it is the United States domestic box office champion, when adjusted for inflation.
But the movie, an epic romance set in the Civil War South, has many detractors who take issue with its portrayal of slavery, blacks and the Civil War.
Herman Daniel Farrell III, associate professor of playwriting at the University of Kentucky, says Gone with the Wind perpetuates the notion of black people as either happy and docile or evil and dumb, "portraying slavery as benign and indeed benevolent towards African-Americans.
"Gone with the Wind is a movie that is deeply racist, but it's insidious in that it attempts to mask its racism," Farrell said.
Farrell's view is reflected in numerous recent writings about the movie, including a New York Post critic's suggestion that it should go the way of the Confederate flag.
But some people aren't ready to give up on the film. In the last few weeks, its sales on DVD and Blu-Ray have surged.
And it probably will draw big crowds Wednesday, as it has in previous Summer Classics showings.
"The things that happen in the film did actually happen," said Fred Mills, manager of the Kentucky Theatre. "I don't think you can hide behind things and pretend they didn't happen."
Mills, who supports the removal of the Confederate flag and the statue of Jefferson Davis, said the film is a slightly different issue.
"People know what they're coming to see," he said. "They're buying a ticket (to the show)."
But Farrell says Gone with the Wind isn't as historically accurate as some people might think.
He says the film perpetuates a popular notion of the Confederacy called the "Lost Cause": the idea that the Civil War was a noble cause lost to the evil Yankees.
Ironically, Gone with the Wind holds a place in American civil rights history.
For her performance in the film as Mammy, Hattie McDaniel became the first black actor to win an Academy Award (best supporting actress).
Fred C. Wilhite, the heritage defense officer for the Sons of Confederate Veterans, cites that as a reason to revere the film. "If it's a part of your history and culture, I'm not sure why you'd want to get rid of it," he said.
Some people, including Mills, would like to see the film used as a learning tool. Others would like to see it buried.
Farrell cites Kentucky native D.W. Griffith's 1915 film Birth of a Nation, which was long regarded as an American classic until viewers soured on its portrayal of the Ku Klux Klan as heroes. Its 100th anniversary is passing largely unnoticed.
"I do not favor a ban or any form of censorship," Farrell said. "(However), it is my deep-felt wish that Gone With the Wind would be finally tossed on to the ash heap of history, alongside Birth of a Nation, where it belongs."