av 3, no. 2 (1994): 73 –98.
40. Adolf Halfeld, Amerika und der Amerikanismus: Kritische Betrachtungen eines Deutschen und Europäers (Jena: Diederichs, 1928), 19; see also Halfeld’s sequel, USA greift ein (Hamburg: Broscheck, 1941).
41. “Sutter, the German immigrant, the hereditary landowner, the symbol of industriousness and patriotism, embodies the spiritual indivisibility of what Nazi ideology called blood and soil. Driven from his homeland, from the Heimat of the soul, Sutter creates a new one by cultivating the land” (Jan-Christopher Horak, “Luis Trenker’s The Kaiser of California: How the West was Won, Nazi Style,” Historical Journal of Film, Radio, and Television 6, no. 2
[1986]: 186).
42. Frayling, Spaghetti Westerns, 20 –21.
43. See Rentschler, “Mountains and Modernity,” 141–153.
44. Ibid., 146.
45. Leo Lowenthal, Literature and the Image of Man: Sociological Studies of the European Drama and Novel, 1600 –1900 (Boston: Beacon, 1957), 202.
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46. Simonetta Falasca-Zamponi, Fascist Spectacle: The Aesthetics of Power in Mussolini’ s Italy (Berkeley: University of California Press, 1997), 12.
47. Rudolf Borchardt, “Villa,” in Gesammelte Werke in Einzelbänden: Prosa III, ed. Marie Luise Borchardt (Stuttgart: Klett, 1962), 38 –70.
48. Russell A. Berman, Modern Culture and Critical Theory: Art, Politics, and the Legacy of the Frankfurt School (Madison: University of Wisconsin Press, 1989), 29.
49. Clouds are ubiquitous in Trenker’s film. They set moods, define rhythms, and interpret human drama as fate and destiny; they dwarf the viewer and evoke a sense of natural sublimity. In the history of European art, clouds—according to Hubert Damisch ( Théorie du nuage: Pour une historie de la peinture
[Paris: Éditions du Seuil, 1972]—have been an important ingredient not simply to conjure sensations of monumentality but to codify the process of exhibition itself. As Steve Neale has put it in a different context, “In offering to the spectator’s gaze a set of forms which mask and fill an otherwise empty and potentially infinite space (the sky) while simultaneously signifying the very emptiness and infinity they mask, clouds have come to function, in a sense, to signify spectacle itself” (“Triumph of the Will: Notes on Documentary and Spectacle,” Screen 20, no. 1 [1979]: 67). Placeholders of infinity, Trenker’s clouds likewise define cinema as a spectacle of the first order. They allegorize the motion of film itself, the unreeling of images that overwhelm the viewer with a surplus of representation.
50. “Deutscher Triumph auf der Biennale,” Film-Kurier, September 2, 1936.
51. Luis Trenker, Alles gut gegangen: Geschichten aus meinem Leben (Munich: Bertelsmann, 1972), 345. On Hitler’s and Goebbels’s actual views of Trenker see Felix Moeller, Der Filmminister: Goebbels und der Film im Dritten Reich (Berlin: Henschel, 1998), 419 – 420.
52. Schneider, “Der Kaiser von Kalifornien, ” Licht-Bild-Bühne, July 22, 1936.
53. Linda Schulte-Sasse, Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema (Durham, N.C.: Duke University Press, 1996), 248.
54. Der Film, July 25, 1936.
55. For more biographical details see the entry “Giuseppe Becce,” CineGraph: Lexikon zum deutschsprachigen Film, ed. Hans-Michael Bock (Munich: Edition Text und Kritik, 1984 – ), B1–B5.
56. Ennio Simeon, “Giuseppe Becce and Richard Wagner: Paradoxes of the First German Film Score,” in A Second Life, 221.
57. For more on German film music of the silent era see Herbert Birett, Stummfilm-Musik. Materialiensammlung (Berlin: Deutsche Kinemathek, 1970); Hansjörg Pauli, Filmmusik: Stummfilm (Stuttgart: Klett-Cotta, 1981); Ulrich Rügner, Filmmusik in Deutschland zwischen 1924 und 1934 (Hilde-sheim: Olms, 1988); and Ulrich Eberhard Siebert, Filmmusik in Theorie und Praxis. Eine Untersuchung der 20er und frühen 30er Jahre anhand des Werkes von Hans Erdmann (Frankfurt /M.: Lang, 1990).
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58. Giuseppe Becce, Kinothek, 6 vols. (Berlin: Schlesinger’sche Buch- und Musikhandlung Robert Lienau, 1919 –1929). Goebbels continued Becce’s archival project in the early 1940s. To make the production of newsreel shows more effective, he called for a systematic storage of musical sound tracks “so that in the future the endless search for effective background music could be limited to a minimum” (qtd. in Moeller, Der Filmminister, 378).
59. Giuseppe Becce and Hans Erdmann, Allgemeines Handbuch der FilmMusik (Berlin: Schlesinger’sche Buch- und Musikhandlung Robert Lienau, 1927), 45.
60. On Herbert Windt and his reception during the Nazi period see “Herbert Windt: Der Komponist heroischer Filme,” Film-Kurier, November 19, 1937; and “Musikalische Pionierleistungen im Olympiafilm,” Film-Kurier, April 11, 1938.
61. See Becce’s self-description, qtd. in Hermann Wanderscheck, “Es geht um filmeigene Musik,” Film-Kurier, December 31, 1938.
62. Theodor Adorno, In Search of Wagner, trans. Rodney Livingstone (London: New Left Books, 1981), 42.
63. Theodor Adorno and Hanns Eisler, Composing for the Films (London: Athlone Press, 1994), 55.
64. About fascism as a manipulative mimesis of mimesis see Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment, trans. John Cumming (New York: Continuum, 1995), 184 –185.
65. Hans-Walther Betz, “Der neue Albers-Film—ganz groß: ‘Wasser für Canitoga,’” Der Film, March 18, 1939.
66. Wolfgang Schivelbusch, Das Paradies, der Geschmack und die Vernunft: Eine Geschichte der Genußmittel (Frankfurt /M.: Fischer, 1990), 25–95.
67. Georg Seeßlen and Claudius Weil, Western-Kino: Geschichte und My-thologie des Western-Films (Reinbek: Rowohlt, 1979), 24.
68. Hasso Spode, Die Macht der Trunkenheit: Kultur- und Sozialgeschichte des Alkohols in Deutschland (Leverkusen: Leske und Budrich, 1993), 203 –268.
