The Emperor of California: Nazi Propaganda or Western?

Viewing the movie The Emperor of California in light of different genres inherently means viewing it through a different lens and interpreting different symbols as part of a different allegory. For example, if one were to watch The Emperor of California with no prior knowledge as to its historical and political background and instead were told that it was a western, a lot of political importance and symbolism would be lost to alternate interpretations. The central conflict would be transformed from a propagandistic, political struggle, to a simple fight between good guys and bad guys over a legal issue of property ownership. The undertones of economic strife, the connections with unemployment and lack of security in post-World War I Germany, and the Nazi characteristics of Heimat, traditions, and hard work, would at least be diminished, if not completely dismissed. Instead, one would focus on the struggle against the harsh conditions of the west, the heroic adventure of traveling into the unknown, and the clash between old, traditional ways of life and new, modern technologies. Although both sets of symbols and present, and neither can be said to be correct or incorrect (since I believe all works of art can be interpreted by the viewer/reader/listener independently of the creator’s intentions), viewing the film through both lenses at once is problematic, if not impossible.