'Murderer's House' - University of Victoria

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the Jews in that the recitation of the murder in the fairy tale takes place in tandem with the appearance of industrial ovens in the film narrative. As E. Ann Kaplan asserts, “No better than robbers, the Nazis dismember citizens‟ bodies as in the fairy-tale” (299). The robbers‟ theft of the maiden‟s ring recalls the National Socialists‟ expropriation and plundering of Jewish property and bodies (Davies 126). Moreover, as Lene continues her narration of the tale, the viewer sees her and Anna traveling on a freight train. The image of the train and railway recalls the Holocaust as the Nazis used railways to deport Jewish prisoners to concentration camps. Thus, Sanders-Brahms skillfully combines plot details of “Der Räuberbräutigam” with images of her film narrative to figuratively make reference to the Nazi genocide of the Jews and other victims, showing Germany itself to be a “Mörderhaus” in which the shameful secret of mass murder is hidden. 95
Chapter 4: Three Images of Woman in “Der Räuberbräutigam” and Lene’s Personal History The fairy tale in Deutschland, bleiche Mutter not only describes Germany‟s wartime history by encoding the events of the Holocaust, but it also mirrors Lene‟s personal story. Sanders-Brahms makes use of the fairy tale segment to demonstrate how the realities of war, the post-war period, and the political environment of these eras shaped Lene‟s personal experiences and individual identity. Naughton has noted that, “The tale of the robber bridegroom is one which […] manages to integrate the biographical and familial components of the film, establishing parallels between the narrative function of the bride within the tale and incidents in Lene‟s life” (n. pag.). I suggest that this claim can be extended to not only the fictional miller‟s daughter but also to the old woman and the murdered maiden. In my view, the actions of the three female characters in the Grimms‟ piece reflect and thus highlight how Lene reacts to hardship and the deportation of the Jews during the Nazi era, and to men‟s oppression during the Economic Miracle. The following analysis will examine how the actions of the miller‟s daughter, the old woman, and the murdered maiden of the Grimms‟ tale mirror and thus underscore those of Lene in the film narrative. 96
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Storytelling and Survival in the
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Supervisory Committee Dr. Helga Tho
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3.1 Intergenerational Dialogue in D
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I would like to dedicate this thesi
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Sanders-Brahms describes a phenomen
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that Sanders-Brahms uses the fairy
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early 1980s by a wave of historical
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Deutschland, bleiche Mutter. Moreov
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audience. One of the most popular g
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1.1 The Oberhausen Manifesto and Ne
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audiences. This film movement of th
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e beholden to him, for only through
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political events that took place in
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Verdrängten eigentlich gar nicht g
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(Deutschland im Herbst n. pag.). 14
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in drei Jahrzehnten Nachkriegsgesch
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impact West Germans in such a drama
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If German films are to make use of
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1.4 Deutschland, bleiche Mutter as
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story must be hidden as much as pos
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Chapter 2: New Subjectivity and Wes
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Reich” opposes fascism, but who e
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direct and personal confrontation w
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context has only become part of the
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perpetrators are defined predominan
Page 51 and 52: Thus, Sanders-Brahms creates a coun
Page 53 and 54: In the birth sequence, Sanders-Brah
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Page 57 and 58: narrator‟s sadness at the destruc
Page 59 and 60: essentialize men or women‟s exper
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Page 67 and 68: texture which is both social and hi
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Page 71 and 72: y war. A final interesting point of
Page 73 and 74: Maikäfer flieg. dein Vater ist im
Page 75 and 76: Why does Lene sing the Maikäferlie
Page 77 and 78: Beginning with the so-called recons
Page 79 and 80: elationship. Through its subjective
Page 81 and 82: a series of forty-one volumes publi
Page 83 and 84: 3.1 Intergenerational Dialogue in D
Page 85 and 86: geworden” (Brecht, Werke 253). 55
Page 87 and 88: Eure Unarmung kann ich mir nicht de
Page 89 and 90: 3.2 Retelling a Grimm Tale: Voice a
Page 91 and 92: and springs into the lap of the hid
Page 93 and 94: apes were collectively perceived as
Page 95 and 96: 3.4 “Der Räuberbräutigam,” Po
Page 97 and 98: with its ironic “Arbeit macht fre
Page 99 and 100: Further, the absence or presence at
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Page 105 and 106: Moreover she demonstrates insight a
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Page 109 and 110: in an effort to help, Lene quickly
Page 111 and 112: Liebe, Ehe, ein Kind” (Sanders-Br
Page 113 and 114: knowingly or unknowingly, to make p
Page 115 and 116: passively complicit in the crimes o
Page 117 and 118: Contrastingly, in the middle and la
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Page 121 and 122: The old woman‟s constructive fema
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Page 125 and 126: and calm camera movements. In contr
Page 127 and 128: The dentist and Hans completely ove
Page 129 and 130: 4.4 Summarizing Remarks Sanders-Bra
Page 131 and 132: Chapter 5: Conclusion Mother’s Vo
Page 133 and 134: forced back into the oppressive dep
Page 135 and 136: daughter in what becomes an interge
Page 137 and 138: authentic documentary footage of th
Page 139 and 140: evocation of the Holocaust through
Page 141 and 142: Brahms articulates represents an ac
Page 143 and 144: H.S.-B.: Well, one answer to this q
Page 145 and 146: H.S.-B.: There is a very small baby
Page 147 and 148: only when you forget about scientif
Page 149 and 150: R.R.: So an example of that would b
Page 151 and 152: political context of the fictional
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was a wonderful image, like the May
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H.S.-B.: Yes, you‟re right, it‟
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R.R.: Some critics say that she is
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They just appeared during shooting.
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film represent the woman who respon
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R.R.: So, by telling your story, yo
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H.S.-B.: This happened to my mother
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irritated the critics terribly. It
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opening up, but actually, the strug
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---. Brecht on Theater. Ed. and Tra
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Herbst, Philip. Wimmin, Wimps and W
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---. “Gender, Film, and German Hi
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Sander, Helke and Barbara Johr. Eds
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'Murderer's House' - University of Victoria

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