This is our fourth entry in The Film Experience's long-running series Hit Me With Your Best Shot, in which the film blog masses choose their favorite shot from selected movies. 

With Part 1 of Gone With the Wind under our belts, it's time to talk Best Shot from the two-hour long second act.

Part 2 finds the Old South in ruins and the Yankees in control, but with Scarlett's help (and delusions), the action turns from a destitute plantation to an entrepreneurial enterprise to an all-out fantasy world (a la The Queen of Versailles) fortified with Rhett Butler's millions.

But mixed among these dramatic developments is some subtler imagery.

This is our third entry in The Film Experience's long-running series Hit Me With Your Best Shot, in which the film blog masses choose their favorite shot from selected movies. 

From the first frames of the 1939 epic Gone With the Wind, it's clear the action takes place in an alternate reality. It's a place where slaves are euphemistically billed as "House Servants," and delusions of grandeur run wild, with the Old South fetishized as a time when "the age of Chivalry took its last bow [...] the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave."

Let's call a spade a spade: Gone With the Wind is racist to its core.