Cinema heightens the ambivalent but powerful pleasure we take in looking at property. The private property of the house is already a spectacle, of course, as the house is a medium for making visible the wealth of its owners and inhabitants. In a movie theater, this spectacular function is multiplied. — Places Journal
A history of the house in American cinema might well begin with Gone with the Wind, a film that is fascinated with the loss, acquisition, and consolidation of private property; and To Kill a Mockingbird, a putatively antiracist film whose production history is actually an archive of racist urban development. The houses in these pictures tell stories about property that the films do not mention, but cannot cease from showing.
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