German Women in the Wild West: Contradiction in Post-WWIl Gender Roles By Romy Franks Following a World War, film was one of Germany's principal outlets for redefining gender deat German interest in Wester pulp fiction—cowboys and Indians—grew as filmmakers used nineteenth-century Saxon author Karl May's dime store novels to portrayongcreesd ‘gender roles in German societyThese films allowed German men to escape to a world populated by accepting heroic, male characters, rather than ‘hat women had become more independent after the war. Scholars have later discussed post-war German masculinity in May's books and films, but both the academic and popular culture conversations overlook the full picture sevornl postwar ; of women’s roles after the war. However, ‘newspaper articles—some written by rathteng, Dr womens roles-irvugh the, Women—that arse pfensednrthe-srme time frames dhe Sli addfimportant insight >the comments of -enrough the reachons of characters and actresses of the films as well ase ‘Women viewers ofthe filwfs’By analyzing these articles, the tension over women’s roles materializes: while the Karl May films emphasize the Wild West as a puseff masculine territory devoid of women, the newspaper articles depict women as supportive wives and resilient “Pioniersfrauen” (Pioneer women). Thus, although Germans attempted to revert to traditional gender roles, the public's reaction to the films demonstrated the reality that gender roles following the war had changed fore$¢r'fo encompass strong masculinity and an altemnativeyde&tarchetype of femininity. ‘Shock to Masculinity: Confronting Post-War Changes ‘As women’s societal importance increased in the decades directly after the war, the concept of powertd. masculinity decreased. As if losing the war was not difficult enough, the men who survived quickly discovered that “home” as they knew it no longer existed. Of this shock to German gender roles, Franziska Meyer writes, “A large number of these men were neither physically nor psychologically ina position to resume their pre-war role as head of the family. In no other phase of post-war German history would male identity be so badly shaken.” Men were not needed as they were prior iyto the war, because women, having handled family affairs for years without support, had learned to managygad-meve@ By necessity, desperation, of ips pure grit, German women emerged from the war FH resilient inside and outside of the home. Whether as the new heads of household or out in the streets, women were largely credited for putting the pieces of Germany back together, quite literally. In fact, many German women earned the nickname “Trimmerfrau” (Rubble woman) for their work in cleaning up what remained of the bombed out cities. j, With the involvement of women in the public sphere, traditional German society faced “the specter of overly strong women and weak men.”3 This changing nature of men’s and women’s roles incited a cultural response. high # mgt ~" Addressing these changes was a delicate task because reverting to older gender norms meant reclaiming the past. This approach was unwelcome, as it allowed the influence of Nazism to linger in German society. Weedon notes that during the immediate post-war decades, social life in West Germany and Austria was marked by traditional ideas about the nature and primary domestic role of women. The Nazi legacy, together with long-established traditional thinking about women, was compounded by ‘moves, found throughout the Western world, to encourage women to abandon their new- found roles and highly skilled jobs in the wartime production industries. With the return of ‘men from the font, women were expected [fo] retum tothe home.S SF gh. ‘The idea of realizing pre-war concepts of femnininity6 was challenged by post-war efforts to stave off ‘Nazism. Thus, in order to advocate for traditional roles for women while also avoiding this social stigma, society had to develop a new angle through which to view these traditions. The Appeal of the Films: Leaving the War Behind By the time Karl May's novels were released a ims inthe 1960s, German men had developed a ue 9 tha solution to reclaimisg/traditiond S, Hartman notesyby the latter half of the twentieth, jaimige tradition AS Mary syby century, men had long since “responded to the compromising of boundaries between the sexes by periodically redefining the ingredients of manhood and womanhood, all the while quietly mobs surrendering . . .”4 With fears of losing further ground, met used the Karl May films of the 1960s to Out arte,