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Sunrise, America, and the Other Side

Abstract The following essay employs the metaphor of 'the other side' in order to explore the symbolic relationship between America and Europe in F.W. Murnau's Sunrise (1927). The essay argues that the film's symbolic stress on the dichotomy of Europe/America and there/not there rearticulates the role of the US in the immigrant imagination, redefining it in terms of the supernatural, almost deathly nature of early film. The journey west has long been equated with the mythical passage toward death, and in a similar way early responses to the mechanics of cinema also stressed the idea of film as phantasmal projections of this 'other side', a spectral realm haunted by ghosts, apparitions, and shadows. The paper thus positions theoretical notions of negative space (dealing in particular with Jean-Paul Sartre's notions of presence and absence) alongside the notion of the Atlantic crossing as a synonym for emptiness and vacuity, in order to provide a provocative interpretation both of Murnau's film and of the role of America in the European mindset.