Wim Wenders' "Land of Plenty". A love-hate relationship with the USA

Term Paper , 2008 , 9 Pages , Grade: 2,0

History of Europe - Newer History, European Unification

Wim Wenders'
 ambiguity,
 the
 love‐hate
 relationship
 with
 the
 United
 States
 was
 the
 main
 force
 behind
 the
 production
 of
 “Land
 of 
Plenty”
 (2004). 
It
 was 
shot 
within 
three
 weeks 
with
 a
 small
 digital
 amateur
 camera,
 and
 only
 because
 the
 production
 of
 his
 next
 film
 “Don’t
 come 
knocking”
 (2005) 
got
 delayed.
 The
 entire 
production
 of
 the 
movie 
took
 not more
 than
 six 
weeks.
 Without
 a
 doubt,
 it
 is 
Wenders’
 most 
political
 film
 so 
far.
 As 
a 
Christian,
 one
 (or,
 as
 he
 stated
 once,
 even
 his
 initial)
 idea
 for
 the
 film
 was
 “to
 set
 a
 radically
 contrary 
idea
 of
 being 
Christian
 against
 the
 fundamentalist 
Christendom” 
of
 the 
Bush
 administration.
 His
 ambition
 was
 to
 “fight
 against
 the
 treason
 [on
 democracy
 and
 freedom
 and]
 on 
all
 what 
is
 left 
of
 my
 childhood
 myth.” As
 stated 
in 
the
 press 
release
 for “Land 
of 
Plenty”,
 it 
is
 a
 “film
 about 
the 
country 
he 
has
 been 
concerned
 with
 for
 many
 years
 and
 which
 he
 loves”,
 a
 “very
 personal”
 and
 “sanguine
 film
 about
 those
 who
 still
 stand
 for
 this
 country’s
 possibilities
 […],
 a
 political
 essay.” Typical
 for
 his
 artistic
 approach,
 Wenders
 did
 not
 want 
to
 make
 an 
“angry”
 film, but 
one 
that
 could
 contribute
 to 
“healing”;
 a
 profound
 difference
 to
 films by Michael
 Moore,
 a 
name 
often
 dropped 
in
 Germany
 in
 the
 context
 of
 “Land
 of
 Plenty”.
 Wenders,
 as
 he
 stated
 himself,
 wanted
 to
 explore
 the
 same
 territory
 as
 Moore,
 but,
 of
 course,
 in
 his
 very
 own
 way.
 In
 direct
 comparison
 to
 Moore
, the
 Süddeutsche
 Zeitung,
 for
 example,
 grants
 Wenders
 “more
 complex,
 sadly
 beautiful,
 inconceivable
 images” and
 an
 overall
 more
 convincing
 approach.


Table of Contents

Wim Wenders: Land of Plenty

Objectives and Topics

This paper examines the complex, evolving relationship between German director Wim Wenders and the United States, specifically analyzing how his film "Land of Plenty" (2004) functions as a political essay and a meditation on the American dream. The research explores the reception differences between American and German critics to understand Wenders' role as both an "outsider" observer and a deeply engaged cultural critic.

• Wim Wenders’ professional and personal history with the United States.
• The influence of American cinema and music on Wenders’ early creative development.
• Political evolution of Wenders’ critiques of American policy and society.
• The narrative and thematic structure of "Land of Plenty" in the post-9/11 era.
• Comparative analysis of German and American critical reception of Wenders' work.

Excerpt from the Book

Wim Wenders: Land of Plenty

Professionally, Wenders left Europe for the United States only once. And it was a disaster. The shooting, or better the two shootings of “Hammett” between 1977 and 1982 as an “employed” director under Francis Ford Coppola’s control ended in a personal nightmare. It was a kind of filmmaking he never would accept. Accustomed to writing his own story which would usually change during the process of filming, and used to choosing his actors and his crew, Coppola’s Hollywood-style approach in the production of “Hammett” was a blow to Wenders’ professional ambitions in the United States.

Asked if he wanted to work there again, he said that “it would be too much of a loss of autonomy. The way they despise and destroy their abundance of talent is appalling. The films are not made by artists, but by agents and lawyers.” A couple of years later, his tone appeared to be more moderate: "It was a comprehensive experience [and] one of the most important at the same time.” Nevertheless, ever since “Hammett”, all of Wenders’ movies have been produced and financed through Europe.

Chapter Summary

Wim Wenders: Land of Plenty: This chapter provides an overview of Wenders’ professional trajectory regarding the U.S., his critical reception in both Germany and America, and an analysis of the themes and reception of his film "Land of Plenty."

Keywords

Wim Wenders, Land of Plenty, American Dream, New German Cinema, Independent Film, Cultural Criticism, Film Reception, 9/11, Globalization, Transatlantic Relations, Political Cinema, Independent Cinema, Autoreinfilmer, Film Analysis.

Frequently Asked Questions

What is the core subject of this paper?

The paper explores the long-standing love-hate relationship between German filmmaker Wim Wenders and the United States, as reflected through his life, his filmography, and specifically his 2004 production, "Land of Plenty."

What are the primary themes discussed?

Central themes include the impact of American culture on European filmmakers, the political critique of the Bush-era United States, the definition of independent cinema, and the cultural nuances of how a foreign artist perceives a nation.

What is the research goal?

The study aims to analyze how Wenders acts as a "caring observer" of America and to contrast how his political commentary in "Land of Plenty" is interpreted differently by German and American audiences.

Which methodology is applied?

The author uses a qualitative approach, synthesizing historical context, analysis of film production, and a comparative review of journalistic criticism from international media outlets.

What does the main body cover?

The text covers Wenders' early experiences in Hollywood, his evolving political stance over the decades, the specific production circumstances of "Land of Plenty," and detailed arguments from critics on both sides of the Atlantic.

Which keywords define this work?

Keywords include Wim Wenders, Land of Plenty, American Dream, New German Cinema, Independent Film, Cultural Criticism, and Transatlantic Relations.

How did the "Hammett" experience influence Wenders' career?

The difficult production under Coppola led Wenders to reject the traditional Hollywood studio model, cementing his preference for producing and financing all subsequent films through Europe to maintain artistic autonomy.

How do the protagonists in "Land of Plenty" represent the director's view?

Paul represents a paranoid, damaged American perspective, while his niece Lana represents a hopeful, idealistic, and spiritual viewpoint, together forming a dialectic that mirrors Wenders' own complex view of the United States.

Why did German and American critics react so differently to the film?

American critics generally appreciated the film as a touching, visionary, and well-meaning meditation on the American dream, whereas many German critics found the religious idealism of the character Lana to be naive or even ridiculous.

Is "Land of Plenty" considered the end of Wenders' engagement with America?

No, the author argues that while the film reflects on "ends," it is likely just another chapter in a long-standing, never-ending love story between Wenders and the American landscape.

• College: University of California, Berkeley (Department of History)
• Course: U.S. Cultural and Intellectual History: Global Contexts
• Grade: 2,0
• Author: Adam Seitz (Author)
• Publication Year: 2008
• Pages: 9
• Catalog Number: V130796
• ISBN (eBook): 9783640398249
• ISBN (Book): 9783640398164
• Language: English
• Tags: wenders, land, plenty, hassliebe, beispiel, films, jahr