'Murderer's House' - University of Victoria

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sister, Lene. Lene distracts Hanne from Rahel‟s abduction by continuing their personal discussion about boyfriends. Lene operates under the illusion that the forces of politics and history can be evaded by retreating into the private realm, a pretence that aids her complicity with the status quo (McCormick, “Gender” 253). A second scene where Lene‟s private concerns cause her to become complicit with the Hitler regime takes place when she is embroidering a new blouse to wear for Hans‟s return on his first leave from the army. Lene is so intent on finishing her personal project that she shows no emotional reaction when told that the Ducksteins, the Jewish owners of the haberdashery shop where she buys thread, have been deported. Apparently unconcerned at the elderly Ducksteins‟ fate, she goes to the boarded-up shop and pleads with an old woman who lives in the building to let her in. Together, the women rummage through the ransacked shop to find the red thread Lene needs and when they cannot find it, the old woman convinces her to take blue instead, bidding her goodbye with a “Heil Hitler!” Lene is so intent on her “private” goal of pleasing her husband, that she unwittingly takes part in the expropriation of Jewish property. In a voice-over commentary, the narrator takes her mother to task for this complicity, stating, “Du hast es alles nicht gewollt. Du hast es aber auch nicht verhindert” (Deutschland, bleiche Mutter n. pag.). 77 Later in the film, the blouse with which Lene was so concerned is ripped off by Hans who barely notices her painstaking needlework, and whose attitudes towards women and sex have changed through his socialization in the army (McCormick, Politics 205). Sanders-Brahms thus shows that her mother‟s decision to escape politics by attempting to take refuge in private, personal, “apolitical” happiness is ultimately an illusion. The impossibility of pulling down the blinds to escape history is revealed by the fact that Lene continues, 77 “You didn‟t want any of it. But you also didn‟t stop it” (Deutschland, bleiche Mutter n. pag.). 105
knowingly or unknowingly, to make political choices, choices that involve her in the crimes of fascism. 106
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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
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Thus, Sanders-Brahms creates a coun
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In the birth sequence, Sanders-Brah
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ombs fall downward from the upper r
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narrator‟s sadness at the destruc
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essentialize men or women‟s exper
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Page 69 and 70: ombings terrorized civilian populat
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
Page 101 and 102: can imagine the chimney blowing out
Page 103 and 104: Chapter 4: Three Images of Woman in
Page 105 and 106: Moreover she demonstrates insight a
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Page 109 and 110: in an effort to help, Lene quickly
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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 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
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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
Page 153 and 154: was a wonderful image, like the May
Page 155 and 156: H.S.-B.: Yes, you‟re right, it‟
Page 157 and 158: R.R.: Some critics say that she is
Page 159 and 160: They just appeared during shooting.
Page 161 and 162: 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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