Gone with the Wind (film) in the context of "Drama (film and television)"

A blockbuster is a work of entertainment—typically used to describe a feature film produced by a major film studio, but also other media—that is highly popular and financially successful. The term has also come to refer to any large-budget production intended for "blockbuster" status, aimed at mass markets with associated merchandising, sometimes on a scale that meant the financial fortunes of a film studio or a distributor could depend on it.

Dame Olivia Mary de Havilland (/də ˈhævɪlənd/; July 1, 1916 – July 26, 2020) was a British and American actress. The major works of her cinematic career spanned from 1935 to 1988. She appeared in 49 feature films and was one of the leading actresses of her time. Before her death in 2020 at age 104, she was the oldest living and earliest surviving Academy Award winner and was widely considered as being the last surviving major star from the Golden Age of Hollywood cinema. Her younger sister, with whom she had a noted rivalry well documented in the media, was Oscar-winning actress Joan Fontaine.

De Havilland first came to prominence with Errol Flynn as a screen couple in adventure films such as Captain Blood (1935) and The Adventures of Robin Hood (1938). One of her best-known roles is that of Melanie Hamilton in Gone with the Wind (1939), for which she received the first of her five Oscar nominations, the only one for Best Supporting Actress. De Havilland departed from ingénue roles in the 1940s and later distinguished herself for performances in Hold Back the Dawn (1941), To Each His Own (1946), The Snake Pit (1948), and The Heiress (1949), receiving four Best Actress nominations and winning for To Each His Own and The Heiress. She was also successful in work on stage and television. De Havilland lived in Paris from the 1950s and received honors such as the National Medal of the Arts, the Légion d'honneur, and the appointment to Dame Commander of the Order of the British Empire at the age of 101.

Vivien Leigh (/liː/ LEE; born Vivian Mary Hartley; 5 November 1913 – 8 July 1967), styled as Lady Olivier after 1947, was a British actress. After completing her drama school education, Leigh appeared in small roles in four films in 1935 and progressed to the role of heroine in Fire Over England (1937). She then won the Academy Award for Best Actress twice, for her performances as Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in the film version of A Streetcar Named Desire (1951), a role she had also played on stage in London's West End in 1949. For the latter role, she also won the Volpi Cup for Best Actress. She also won a Tony Award for her work in the Broadway musical version of Tovarich (1963).

Despite her fame as a screen actress, Leigh was primarily a stage performer. During her 30-year career, she played roles ranging from the heroines of Noël Coward and George Bernard Shaw comedies to classic Shakespearean characters such as Ophelia, Cleopatra, Juliet and Lady Macbeth. Later in life, she performed as a character actress in a few films. Although her career had periods of inactivity, in 1999 the American Film Institute (AFI) ranked Leigh as the 16th-greatest female movie star of classic Hollywood cinema. Also lauded for her beauty, Leigh felt that her physical attributes sometimes prevented her from being taken seriously as an actress.

Films generate income from several revenue streams, including theatrical exhibition, home video, television broadcast rights, and merchandising. However, theatrical box-office earnings are the primary metric for trade publications in assessing the success of a film, mostly because of the availability of the data compared to sales figures for home video and broadcast rights, but also because of historical practice. Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. All charts are ranked by international theatrical box-office performance where possible, excluding income derived from home video, broadcasting rights, and merchandise.

Traditionally, war films, musicals, and historical dramas have been the most popular genres, but franchise films have been among the best performers of the 21st century. There is strong interest in the superhero genre, with eleven films in the Marvel Cinematic Universe featuring among the nominal top-earners. The most successful superhero film, Avengers: Endgame, is also the second-highest-grossing film on the nominal earnings chart, and there are four films in total based on the Avengers comic books charting in the top twenty. Other Marvel Comics adaptations have also had success with the Spider-Man and X-Men properties, while films based on Batman and Superman from DC Comics have generally performed well. Star Wars is also represented in the nominal earnings chart with five films, while the Jurassic Park franchise features prominently. Although the nominal earnings chart is dominated by films adapted from pre-existing properties and sequels, it is headed by Avatar, which is an original work. Animated family films have performed consistently well, with Disney films enjoying lucrative re-releases prior to the home-video era. Disney also enjoyed later success with films such as Frozen and its sequel, and The Lion King (along with its computer-animated remake), as well as its Pixar division, of which Inside Out 2, Incredibles 2, and Toy Story 3 and 4 have been the best performers. Beyond Disney and Pixar animation, China's Ne Zha 2 (the highest-grossing animated film), and the Despicable Me and Shrek series have met with the most success.

The Academy Award for Best Supporting Actress is an award presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS). It has been awarded since the 9th Academy Awards to an actress who has delivered an outstanding performance in a supporting role in a film released that year. The award is traditionally presented by the previous year's Best Supporting Actor winner. However, in recent years, it has shifted towards being presented by previous years' Best Supporting Actress winners instead. In lieu of the traditional Oscar statuette, supporting acting recipients were given plaques up until the 16th Academy Awards, when statuettes were awarded to each category instead.

The Best Supporting Actress award has been presented a total of 89 times, to 87 actresses. The first winner was Gale Sondergaard for her role in Anthony Adverse (1936). The most recent winner is Zoe Saldaña for her role as Rita Mora Castro in Emilia Pérez (2024). The record for most wins is two, held jointly by Dianne Wiest and Shelley Winters. Each other recipient has only won once, in this category. Thelma Ritter has received the most nominations in the category, with six, followed closely by Amy Adams with five, although neither has ever won—yet, in the latter's instance. Hattie McDaniel, whom the Academy sat in the back of the room, made history in 1940 when she became the first person of color to win an Oscar in any category, for her performance as Mammy in Gone with the Wind (1939). Tatum O'Neal remains the youngest person to win a competitive acting Oscar at 10 years old, for her role in Paper Moon (1973). With five minutes and two seconds of screentime (the majority in one scene), Beatrice Straight's performance in Network (1976) holds the record for the shortest to win an Oscar.

David O. Selznick (born David Selznick; May 10, 1902 – June 22, 1965) was an American film producer, screenwriter and film studio executive who produced Gone with the Wind (1939) and Rebecca (1940), both of which earned him an Academy Award for Best Picture. He also won the Irving Thalberg Award at the 12th Academy Awards, Hollywood's top honor for a producer, in recognition of his shepherding Gone with the Wind through a long and troubled production and into a record-breaking blockbuster.

The son and son-in-law of movie moguls Lewis J. Selznick and Louis B. Mayer, Selznick served as head of production at R.K.O. Radio Pictures and went on to become one of the first independent movie producers. His first wife was Mayer's daughter Irene Selznick, who became a highly successful Broadway producer after their divorce, and his second wife was Oscar-winning actress Jennifer Jones.

In film criticism, classical Hollywood cinema is both a narrative and visual style of filmmaking that first developed in the 1910s to 1920s during the later years of the silent film era. It then became characteristic of United States cinema during the Golden Age of Hollywood from about 1927, with the advent of sound film, until about 1967 and the arrival of New Hollywood productions such as Bonnie and Clyde and The Graduate. During the intervening forty years, it was the most powerful and pervasive style of filmmaking worldwide.

Similar or associated terms include classical Hollywood narrative, the Golden Age of Hollywood, Old Hollywood, and classical continuity. The period is also referred to as the studio era, which may also include films of the late silent era.

A supercouple or super couple (also known as a power couple) is a popular and/or wealthy pairing that intrigues and fascinates the public in an intense or obsessive fashion. The term originated in the United States, and it was coined in the early 1980s when intense public interest in fictional soap opera couple Luke Spencer and Laura Webber, from General Hospital, made the pair a popular culture phenomenon.

First applied to fiction, supercouple can be used to refer to couples from television dramas and film, such as Gone with the Wind's Rhett Butler and Scarlett O'Hara. The term was expanded to real-life pairings; tabloids and the mainstream media have focused on wealthy or celebrity couples, such as the romances between Ben Affleck and Jennifer Lopez (which became known by the portmanteau "Bennifer") and of Brad Pitt and Angelina Jolie ("Brangelina").