Sphere's of influence

So, we dont really know to much about trenker's motivations in making the films he made during this period, or at least we don't know the "true" motivations. Did nazi propagandists take advantage of his subject matter and exploit the films, or was trenker including themes for the nazi's so that he could continue to thrive under the new regime. Comparing "Emperor of California" to the clips of "The Prodigal Son" that we saw in class tuesday its safe to say that one theme is clearly present in both films. They both decry capitalism and tear down the image of the american dream. Both films portray the capitalistic american man as more or less a savage being motivated solely by self enhancement and in so doing exhibit america's darkest and most base elements. Simultaneously, trenker portrays the European's in the film as visionary and idyllic examples of man's potential. In this way trenker's films display a Nazi influence, the image of superiority of europeans (specifically germans in the case of the Nazi's) over the rest of the world and their political orientation is strongly present in both films, as is the fact that they are taken advantage of by the capitalistic system. Although the film does not overtly portray a "Nazi" form of government as the ideal, it certainly speaks out against capitalism and could very well have been used to fuel german nationalism/superiority over the rest of the world, as well as superiority of the Nazi Party over its capitalist counterparts.

Luis Trenker Western

In my opinion "Emporer of California" is viewed as a Western more so than a Nazi film. Gold is really important in most Western films,and this one is not any different. We see the struggle that our main character has to go through to survive in the "wild west." Therefore, in my eyes this film definitely relates more to a Western genre. I also do see the part of the movie that makes it a typical Trenker film. I do think the shots that are taken of the landscape and the mountains really make it an authentic Trenker film. Along with this him climbing mountains are what you would see in a typical Trenker film.

Anti-Western Western?

Although many posts comment on how the Trenker film, Emperor of California, embodies the typical Trenker traits of mountaineering and the outdoors, it seems that the film also attempts to debunk the theme of a care-free American West. While initially the film portrays the American West as a free for all land of opportunity it quickly evolves into a hellish wasteland of lawlessness complete with murder and fire. Random people are lynched and buildings are destroyed by the unruly American mob acting without purpose. Additionally (and this might be due to my hazy knowledge of German), it seems that the governing officials of California are not there to help those law abiding citizens of the West. Thus, the Trenker film takes a decidedly political stance against a cinematic icon: the American West. By portraying the West as an illogically lawless land (unlike other films that convey an attractive lawlessness) and a violent populace the film sends the message that the West spawns immorality and evil beings. This notion runs slightly against the usual Trenker theme of upholding Nature and the landscape since these beautiful lands also contain the madness that the protagonist experiences. Perhaps this irony is what the film is getting at, that despite the majesty of the West it contains evil as well.

Viewing "The Emperor of California" through Various Lenses

No matter how you view "The Emperor of California," the plot stays the same; the message, however, stays the same. As a Nazi film, TEoC portrays an anti-modernist message that reminds the viewer of the importance of homeland Germany. As a Western film, TEoC gives all the elements of action and adventure expected from the genre, while also showing the struggles of tackling the American western frontier. As a Trenker film, TEoC depicts the protagonist eventual understanding of "Heimat" while being set to numerous breathtaking mountain landscapes.

I do not believe that TEoC makes a strong case as a Nazi film. I think the film happened to fit what the Nazi's were looking for in an anti-modernist movie rather than the Nazi Party enforcing the implementation of these aspects in the movie. It depicts NYC as not being as glamorous as legend makes it out to be, but it is not the flag waving, staged parade Nazi propaganda that was typical of the time.

I think that the aspects of both Western and Trenker films run closely together to better describe TEoC. Using the broad shots of mountainous Western landscapes is typical of both genres. Trenker's successes and eventual struggles in conquering the new frontier is expected of Western films, but the use of these Western aspects and the theme of what "home" truly is pulls the film back into the genre of a Trenker film.

Trenker's "The Emperor of California"

Trenker's "The Emperor of California" can be viewed from the perspective of several genres, but is most typical of the category of German adaptations of the American Western. It has some themes in common with American Westerns, such as that of men going out into the wilderness and creating their own space within it, "ensur[ing] the final victory of civilization" (Koepnick, 10). The story also takes place, at least during the middle of the narrative, at the intersection of civilization and nature (10). However, the victory of civilization is not portrayed positively, and the film ends on a note of resignation, with the idea that progress cannot be stopped (no matter how much one may want to stop it, implying that it isn't great) and that Sutter should accept this. He is, in the end, defeated by the greed and chaos that comes with capitalism/gold and modernization. Thus, while it embodies some typical characteristics of an American Western, "The Emperor of California" is also at odds with that genre and/or goes beyond it. Seen as a German Western, however, it is more typical. It definitely has "antimodern, anticapitalist rhetoric" (Koepnick, 11), and also raises issues of the "struggle between materialism and spirituality, greed and self-sacrifice" (11)- materialism and greed being represented by the gold-diggers who ruin Sutter's happiness, and spirituality and self-sacrifice being represented by Sutter himself. Yet, ironically, Sutter, the hero, is still a "capitalist entrepreneur" (11), although his goals are to create a space and life for himself and his family and effectively run the land he has been granted, rather than getting rich. Also fitting in with the German Western is the fact that Sutter and his men are actually the "harbringer[s] of institutionalization" (12), whereas in an American Western the hero would typically be resistant to or on the outskirts of any such development. Institutionalization itself, then, is not seen as negative, although extreme modernization is. It is also disturbing that the hero is in the end told to give up and stop fighting the inevitable, even though in the film's beginning he fought to the point of death; in an American Western, a more likely ending would have been the the hero/outlaw continuing to be defiant against all odds (ex: Butch Cassidy and the Sundance Kid, in which the two protagonists take on a ridiculous number of police-type characters in the last scene and may or may not have lived to tell the tale).

Trenker Western

The film was most clearly a Western and could easily be viewed simply as that. However, going into the film thinking of it as a work of Nazi cinema greatly altered how I saw it. As a Western the film could be viewed as focusing purely on this man's life and struggles. Viewing it as a Nazi film made me think of the film in more broader terms, focusing on the workers as a whole and the endeavors with the land and gold as general problems, instead of simply Sutter's problems. I also found that instead of just following the story line of the film, I kept questioning what everything was supposed to mean in terms of a Nazi agenda. Had I seen this film believing it was only a Western I think I would have sympathized more with Sutter and his family. Questioning the meaning behind things set me farther apart from the immediate story and the characters. 

Therefore I think the film should be approached as a Western, not a Nazi film. The idea of Heimlot is important, but it has just as much impact when the film is viewed as a Western. It doesn't have to be specifically about Germany, just about the home, or roots, in general. 

sheep's clothing?

Emperor of California appears to behave as a Trenker film, especially with the rugged sorts of imagery, especially when Suter is climbing the mountain. Secondary to this identity is the notion of the film as a western, which lends a certain sense of novelty to the film, perhaps. These identities seem to be well established, and are also the reason that this film works as propaganda.
Because the film is not immediately recognised as a propagandistic or overtly nazi film, the viewer is more susceptible to the propaganda within, because their guard is down. The film is slanted, but appears not to be- that makes for good propaganda.

A Nazi Trenker Western

The Emperor of California can be read as a Western, a Trenker film and a Nazi film. The three categories yield three different interpretations of the film, highlighting three different themes. Reading the film as a Western, the theme that is most important is the setting of the American West. With high-speed chase scenes involving cowboys and Indians and stereotypical bar scenes, the film contains many key elements of a typical Western movie. The characters are dirty, rugged and unshaven and display great amounts of courage and bravery. As a Trenker film, the theme that is highlighted is the Heimat. The move to America proves to be a bad one, as Sutter ends up having his sons murdered and leaves the city in ruins. His experiment fails and he yearns to return home. This is a common element in Trenker’s films and is an overarching theme in the movie. Finally, as a Nazi film, The Emperor of California highlights hard work for the whole rather than individual greed. The Nazis wanted the German people to work the land and fight for Germany as a group of people and did not want them to succumb to individual greed. When the society that Sutter creates functions as a group, they succeed, however when they get greedy and only think of themselves, it all falls apart and the city is left in ruins. All three of the readings are important for different reasons and all three interpretations of the film are completely valid.

The Emperor of California: Nazi, Western or Trenker Film?

            While The Emperor of California definitely contains elements of Nazi film and a Western, I think it is most representative of Trenker’s films in general.  First of all, as we discussed in class, Nazi films often include a theme of a German protagonist leaving the homeland and eventually returning due to an overwhelming sense of loyalty and need to “fight” for the country.  They generally were meant to leave their predominantly-German audience feeling like home is not just a location but the essence of an individual, and better than any other exotic place in the world.  While Trenker did produce many films that embodied this theme, such as The Prodigal Son, I didn’t really get the impression that The Emperor of California was trying to achieve that end.  Although California, like New York City in The Prodigal Son, can often times prove harsh for Sutter throughout the movie, it doesn’t necessarily seem to be making the point that Sutter was better off in his homeland.  Therefore, while Trenker did make many Nazi-approved films rooted in ideology accepted by the Nazis, I would not classify The Emperor of California as one of them.  On that same note, I wouldn’t exactly characterize the film as a Western either, despite the fact that its set in the “American” west and centered around stereotypical cowboys.  I don’t know much about Western films, but from what I understand, they generally have a somewhat simple plot with a rogue, swaggering main character, which does not seem parallel to this film.  Sutter is certainly not the typical Western protagonist, nor is the plot a simple good guy versus bad guy melodrama.  That being said, from what we have learned of Trenker, I would classify the film as a “Trenker film” due to its use of geography and innovative film techniques.  The scene where he is depicted as “going to America,” where he is walking towards the ocean as he blends into it, seems very unique for a film of that era.  Furthermore, the pans of the scenery remind me of The Prodigal Son, and his impressive way of showing such a unique view of New York City.   Finally, Trenker is known for using geography to show audiences what is representative of “home,” and his depictions of the American west represent what he must have viewed as the antithesis to the capitalistic New York City.

The Emperor of California
Thinking of “The Emperor of California” as either Nazi cinema, a Western or a Trenker film, I would say that the Nazi aspect is the least important one - especially as Trenker was not a real Nazi or German himself but only became both to be able to produce movies. He considered himself a Tyrolese and Tirol is also where his heart was. Although one could interpret his down fall in the end as propaganda for the Nazis, so to say that these things hadn’t happened to him in Germany because the German people would have been more loyal to him and hadn’t betrayed him, I think that Trenker’s true motive is his love for his “Heimat”: although he had found a new home in California, it could never be as good as his original “Heimat”. Watching the movie with regard to the “Heimat” aspect, it clearly becomes more a Trenker movie than a Nazi movie. Another aspect that contributes to this perception of the movie is his beautiful shots of the landscape, especially when we think of various mountain scenes that are typical for Trenker. This glorification of nature together with the ideals of the westward movement and the American dream (even though it is destroyed in the end) makes it on the other hand also a typical Western. In my opinion if it hadn’t been for the ending of the movie, Western would have been the best movie genre to put it in. But with this rather destroying ending, which fits into Trenker’s “Heimat” motive, it becomes some kind of a mixture of both; but in no way, at least in my opinion, is it a Nazi propaganda movie.

The Emperor of California from Three Viewpoints

When one looks at Der Kaiser von Kalifornien as a Nazi film, several events in the film come to mind that highlight what could be considered propaganda significance. The first, and possibly most striking, is Suter’s anti-Napoleonic poster. Suter, a Swiss man, addresses the poster to “Deutsche Brüder.” An anti-French German nationalist movement, if one can even call it that, was only in its infancy at this time, and it was more likely to be present in northern Germany, not Switzerland. In any case, it is highly doubtful that Suter would have directed an anti-French appeal to “German” brothers. (There is also the small problem that the real-life Suter did not leave Switzerland until over 15 years after Waterloo, but one could just say that leaving under the conditions that he does in the film is simply more interesting). Thus, viewed as a Nazi scene, this scene looks like it is trying to create sympathy in the audience with the character Suter based on his nationalist feelings.

The film can be viewed as a Trenker picture as well. Two elements of the film come to mind. First, Suter’s futile struggle to preserve a pre-modern agricultural paradise seems congruent with what we discussed in class: Trenker’s glorification of blood and soil. Although one might see in this elements of Nazi ideology, I believe that the roots of disdain for the modern world go back farther in history than the Nazi movement. Besides, Suter’s agricultural community is worked by a multi-ethnic group of men, which would be highly problematic for Nazi thinkers. Second, the riot scene in San Francisco at the end of the film, besides being caused by the corrupting influence of money, also takes place in a city, which is crucial. Just as New York in Der Verlorener Sohn has a dark side beneath the tall skyscrapers, so the people of San Francisco, so recently employed in healthy work on Suter’s land, tear apart their city.

As a western, the film is much simpler to interpret. The villain of the film can be just that, a bad guy who doesn’t change his ways even when Suter defeats him. In addition, rather than being a symbol of modernity’s negative effect on humanity, the discovery of gold can instead be seen as something which destroys the wild west, something with value in itself. The land of noble Indians and open range for the taming declines and is lost to urban development.

The Emperor of California

This film encompasses details of each film genre which makes the whole such a provocative piece of film. From the Nazi Cinema perspective, politics and the way of life that Trenker experienced as an "American". Nazi Cinema often focused on the praising of the Nationalist Social party and had the social norms that made something good, right, and socially acceptable. New York stood for the bad and the ugly, like the communist party was often made out to be in Nazi Cinema. The fatherland (Germany) was home, and where our protagonists needed to be. As a Western, it was the environment and way of life that was set up to deliver the political message. The fight between good guys and bad guys plays a role over property ownership gives the viewer more of a Western feel but still ties into Nazi Cinema's way of portraying how great their party is and how no other regime compares. However, as the traveling and roaming nature of Trenker still gives it its Western feel. Neither is better than the other, however by combining the two, the film can reach more people as it is not as clear that it is a propaganda film.

The Emperor of California... should have just stayed home?

The Emperor of California allows for a wide range of interpretations, depending on how one chooses to view the film contextually. Is it a western? This notion is confirmed by the masculine efforts that dominate the entire film, as this beacon of ruggedness ventures first across the ocean (although this process is very tackily avoided) and then across the United States, with the wild west being his destination. The natural scenery establishes purity in contrast to, for example, the dark and dirty atmosphere of the bar, when the news of the gold first gets out. From mountain climbing to simply laboring vigorously, we see unparalleled daringness displayed by Trenker until his tragic death.

Looking at the film as a piece of Nazi propaganda, the message is less clearly recognizable. On the one hand, Trenker’s departure from his Heimat ultimately leads to his death. Assuming his home in the mountains of Europe is where he belongs, his Heimat, the audience gets the impression that even the most rigorous attempts to establish a quality life in a foreign place will not suffice. The outside world is simply too corrupt. The murder of his two sons shows how brutal life can be, especially when one considers how quickly this event occurs; they had initially waited years to come and join their father, however are unable to live peacefully in this new place. Despite this, I was unable to entirely buy into the idea that all of his efforts were in vain, and thus I am not sure about how to perceive the Nazi ideology present in the film. Although he fails to survive and see the rebirth of the burned and destroyed city, one still sees a triumphant San Francisco at the end.

This film is not limited to these views, however. In the context of Trenker’s works, the Emperor of California fulfills every expectation. Trenker plays a central and adventurous role. He ventures away from home in search of something better, but fails to accomplish what he set out to do. His death and the burning of the city make it apparent that it was a mistake to leave in the first place. The cinematography also helps to establish these views, as he is often shown conquering beautiful, vast landscapes. No matter how one analyzes this film, interesting observations are bound to come up. If nothing else, it is an interesting and thought-provoking work.

Der Kaiser von Kalifornien

In my opinion, Der Kaiser von Kalifornien is more of a Trenker film than it is a Western or a Nazi film, although this is not to say that it doesn’t also have characteristics of the other categories. Der Kaiser von Kalifornien has many of the aesthetic and thematic qualities of Westerns, not to mention being located in the western United States. It also demonstrates some anti-American views, similar to those shown in Der Verlorene Sohn. The Americans are loud, greedy, cut-throat, and disloyal to the people who had previously helped them. Yet the characteristics which make it a Trenker film are the strongest of all. Although the flat lands of the American West are far different from the snowy mountains of Trenker’s homeland and many of his other movies, there are still three scenes which distinctly show the struggle of Stutter against mountainous backdrops. The first happens when he scales the stairs of the town cathedral and at the peak, as he’s about to throw himself off, an angel comes to him and starts him on his journey to America. The second is when he and the other two men are climbing over sand dunes. Because sand dunes like these are nowhere to be found in Kansas, where they allegedly are, I have to believe that this creative choice of geography must be to once again show the protagonist struggling on the steep sandy slopes. The last is when he walks up the steps of the Capitol in Washington. Once again, the angel comes to him and congratulates him on having come so far, but also tells him that he must stop struggling against the gold and the change the country is experiencing. Clearly, Der Kaiser von Kalifornien is an excellent example of the Trenker film type.

Different Viewpoints for The Emperor of California

While watching this movie, the Trenker and Western aspects were evident from the beginning. The beautiful, mountainous landscape, the rolling hills, and the ever present cowboy and Indian characters resonated the Western feel. As a Nazi film, it was unclear to me in the beginning as to why the regime would see this as an important piece of their propaganda puzzle, however by understanding the "Trenkerness" of the film I think the answer to the question becomes a bit clearer.

The "Trenker film", which is characterized by the Heimat theme, seemed to be present in the movie at first, however by the end of the movie you realize that there is a twist. Trenker does not return home in the end, and he actually looses members of his family when they migrate to the United States. He also sees the demise of his economic success and I think this was an interesting tactic for Nazi cinema. Whether done with the hopes of supporting the regime or just adding a twist to his normal plots, Trenker demonstrates what would happen to the German man if they do not return to their Heimlat. His family, his success, and everything he had worked for were lost and destroyed as the movie came to an end - you also saw his loss of strength as he arrives at the Capital sets. By not returning to his Heimlat and by settling in America, I think the end of the movie set out to say "if you do not return to your Heimlat, despair will be in your future". Trenker embodied the German ideal in many ways, through his physical strength, good looks, and economic success, however his one failure (not returning to his Heimlat) would be his biggest mistake. By using this movie, the Nazi's found yet another way to demonstrate the important aspects of the regime and illustrated what would happen to those that did not come along the Nazi journey.

The Trenker Film

The Emperor of California combines the rugged travails of a man as well as his economic success. Prior to learning about the genre of Trenker films, I watched the movie in terms of it being a Western and a Nazi film. The Western aspects were obvious; the landscape, the danger faced by the characters, and the political strife surrounding gold mining all point to the Western Genre. The Nazi cinema aspects of the film are more difficult to detect. I would argue that Nazi ideals come into play at the end of the film when the life Sutter has created for himself and thousands of foreigners is destroyed because of individual greed. As a group of hard working laborers they survived, as individual thieves they were destroyed.

As a Trenker film, it is also interesting to note that in the end, Sutter does not return to his Heimat; rather, his sons are killed and everything he has worked for is destroyed. This could speak to the idea that Sutter should have returned home rather than attempt to keep the land for himself. Other aspects of the “Trenker” genre are also obvious in the film. The viewer sees Sutter take control of the situation when a traveling partner passes out and Sutter also takes to the mountains to find water. It is clear why Sutter was idealized by the German nation; the ease with which he scales the mountain is admirable and he conquers the western landscape with ease. While there are Nazi themes that can be extracted from the film, the aspects of the Trenker film are clearer. Although Sutter does not return to his Heimat, the movie puts forth the idea that he probably should have rather than staying on the land.

"The Emperor of California"

Considering “The Emperor of California” as solely a Nazi cinema piece is problematic because of its clear distinctions as a Western and Trenker film. This is not to say that the movie cannot be all three, but I found the movie to be a lot more similar to other Westerns and to “The Prodigal Son” than to any piece of Nazi cinema we have seen thus far. I find it tough to classify the piece as pro-Nazi, or anti-semantic, or move along with any real messages from the Nazi party. Instead, I would classify the movie as a Trenker film because of its anti-American sentiments of workers full of greed and disloyalty, its adventurous journey through the wild, and the sense that home is where hard work and simplicity create true happiness. While the argument can be made that hard work to create wealth is a Nazi outlook, there is no credit given to the party when Sutter reflects. Classifying it as a Western is far to simplistic when viewing the deleterious ramifications of the Gold Rush to Sutter’s vision and lifestyle. Trenker portrays Americans in “The Prodigal Son” as greedy, deceptive opportunists, which is exactly how Sutter’s immigrants are depicted. I found that “The Emperor of California” best fits a Trenker film, rather than a Western or Nazi cinema film because of the distinct similarities to “The Prodigal Son.”

Morituri Te Salutant

Fascinatingly enough, Der Kaiser von Kalifornien can be seen as a completely different film with each different perspective. Each scene and image of the film stands for something different in one perspective, and possibly stands for nothing significant at all in another. For example, as a Nazi film, the political dynamics are undoubtedly at the forefront of the movie's plot and set-up. The environment of the West then becomes merely a medium that is used to support the delivery of the political messages throughout the work, particularly as a place to where Sutter flees from the political troubles towards the beginning. As a Luis Trenker film, we see the distinct, recurring theme from several of his other cinematic creations of idealization in relationship to one's homeland, as well as the dynamics or comparisons between city life in modern civilization and life out in rugged nature. However, city life may have much less significance in the film when it is viewed as a Western. The open West is simply more prominent as a characteristic environment in such films, and Sutter's start and end in the cities are only bookends to the volumes of a greater story that happened out in the West.

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.

September 29-October 1

Film: Consider the categories/genres Nazi cinema, Western, Trenker film. How would using the various categories change the interpretation of the film The Emperor of California? Which details would you highlight to make your case that the film belonged to this category?