One considers the contemporary controversy over the deletion of the same term in public school copies of Mark Twain’ s Huckleberry Finn. While it’ s recognized that the term has a troubling and incendiary impact, when placed in its proper context, with a politically conscious perspective on race, it is difficult to discern how the deletion of the term actually contributed to the presentation of a more real and historically accurate Gone With the Wind. In addition to the overriding deletions of these aspects of race, the film is also recognized not accurately displaying the lives of African Americans during the time period in question.
One of the first such instances occurs in regards to the depiction of slavery in the film. In these regards, Catherine Clinton writes, “ blacks pick cotton despite the fact that plantations never harvested cotton in spring. (We know it's spring because the drama opens with news of the April 1861 attack on Fort Sumter)” (Clinton 132). Even as the reshaping of the scene seems culturally insignificant, it does align itself with the earlier trends of deletion that indicate the willingness of the film to reshape history to meet its narrative ends.
In examining this scene other researchers have also considered that the scene ends when the foreman yells it’ s quitting time. In these regards, it’ s been indicated that “ the in-joke about who exactly is in charge of the field is a standard Hollywood gag. The question of whether the slaves are plowing or harvesting the field is moot when it is understood that regardless of their actions, they are conventional comic types” (‘ The Depiction Essentially, what this last statement is arguing is that while the film’ s producer Selznick is acknowledging that the film is shifting historical accuracies to match its narrative presentation, it is doing so in self-reflexive ways that indicate the historical inaccuracies are not racially or culturally relevant.
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