'Murderer's House' - University of Victoria

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dupe the robbers in order to extricate herself from the dangerous situation and instead lets herself be coerced into drinking the wine, Lene is so distraught that she cannot think rationally about how to arise out of her depression and thus tries to escape her desperate situation through suicide. As Morewedge explains, Lene “becomes in effect, the Other bride of the fairy tale: intoxicated, drugged, screaming, and incapable of asserting herself when oppressed by her husband and patriarchal institutions” (235). 121
4.4 Summarizing Remarks Sanders-Brahms employs a self-reflective and historically-inflected retelling of “Der Räuberbräutigam” to underscore how her mother reacted to the historical, political, and personal circumstances that she experienced during the war and post-war era. The various roles of the miller‟s daughter, the old woman, and the murdered maiden in the fairy tale emphasize the multidimensional and changing nature of Lene‟s attitudes and behaviour at different points in the filmic narrative. With specific respect to Lene‟s involvement in the crimes of the “Third Reich,” the ambiguous functions of the miller‟s daughter and the old woman highlight Lene‟s status as both a victim and a bystander of the Nazi regime. The wider implications of this paralleling technique are that non-Jewish German women‟s roles in the “Third Reich” were not clearly-defined and static but were instead multidimensional and dynamic. During the Hitler regime, ordinary women and men became complex combinations of both victims and perpetrators. However, women‟s complicity with the crimes of the Nazi regime probably exhibited gender-specific features as the social expectations for women under the National Socialists were different from those of men (von Saldern 157). For example, while men could hold powerful positions in the Nazi hierarchy women were usually confined to minor political offices. Moreover, after the war began in 1939, men tended to be drafted into military service whereas women more often remained at home in the less overtly Nazified domestic sphere or took on occupations which had been vacated by men such as factory work, agricultural labour, and so on. As von Saldern explains, “This meant that women were commonly co-observers, co-listeners, and co-possessors of guilty knowledge rather than 122
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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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image visually separates the runnin
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emotional connection between mother
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endurance and stoic acceptance of b
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texture which is both social and hi
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ombings terrorized civilian populat
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y war. A final interesting point of
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Maikäfer flieg. dein Vater ist im
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Why does Lene sing the Maikäferlie
Page 77 and 78: Beginning with the so-called recons
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Page 81 and 82: a series of forty-one volumes publi
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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
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Page 105 and 106: Moreover she demonstrates insight a
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Page 131 and 132: Chapter 5: Conclusion Mother’s Vo
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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
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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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Page 155 and 156: H.S.-B.: Yes, you‟re right, it‟
Page 157 and 158: R.R.: Some critics say that she is
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Page 161 and 162: film represent the woman who respon
Page 163 and 164: R.R.: So, by telling your story, yo
Page 165 and 166: H.S.-B.: This happened to my mother
Page 167 and 168: irritated the critics terribly. It
Page 169 and 170: opening up, but actually, the strug
Page 171 and 172: ---. Brecht on Theater. Ed. and Tra
Page 173 and 174: Herbst, Philip. Wimmin, Wimps and W
Page 175 and 176: ---. “Gender, Film, and German Hi
Page 177: Sander, Helke and Barbara Johr. Eds
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'Murderer's House' - University of Victoria

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