'Murderer's House' - University of Victoria

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co-perpetrators, their “complicity” consisted of passivity and tolerance in the face of an action, but not of the action itself” (157). Both women and men living under Hitler became victims of war, hunger, and political oppression. However, during the war years, women were generally more vulnerable to rape. Thus, Sanders-Brahms skillfully employs the roles of the fairy tale characters to emphasize Lene‟s contradictory status in the “Third Reich,” and to imply that many non-Jewish German women living under Hitler found themselves in a similar complex and ambiguous situation in which they were simultaneously victims of the Nazi regime and bystanders in the face of its crimes. 123
Chapter 5: Conclusion Mother’s Voicelessness / Daughter’s Voice The first close-up shot of Lene in Deutschland, bleiche Mutter is accompanied by the narrator‟s voice-over address: “Meine Mutter. Ich habe schweigen gelernt, sagtest du. Von dir habe ich sprechen gelernt. Muttersprache” (Sanders-Brahms, Film- Erzählung 112). 90 On a concrete level, this comment describes the genesis of the narrator‟s language, of her ability to speak. However, on a more figurative level, it can be understood in terms of the creation of the film by Sanders-Brahms herself. The film depicts Lene as a woman who is silenced by cultural, historical and personal forces. In Sanders-Brahms‟ narrative, Lene passes from silence to speech and then returns to silence (Kosta 144). The first sequence depicting Lene, shows her speechlessly struggling to fend off an attacking German shepherd that an SA man has set on her. Watching her from their boat, her future husband Hans comments: “Sie hat nicht geschrien” (Sanders-Brahms, Film-Erzählung 28). 91 To this the Nazi Ulrich answers admiringly: “Eine deutsche Frau. Eine richtige deutsche Frau” (Sanders-Brahms, Film- Erzählung 28). 92 Lene‟s culture has taught her that women should deal with anger and pain by keeping it to themselves, by „suffering in silence.‟ In this sequence, as in the rest of the film, silence becomes a sign of Lene‟s suffering under patriarchy. During the war years, Lene comes to speech when she is forced out of her home when it is destroyed in a bombing raid, and required to use her voice in order to ensure the survival of herself and her daughter. As Kaes explains: “When her husband departs, Lene learns to speak for 90 “My mother. I learned to be silent, you said. From you I learned to speak. Mother tongue” (Sanders- Brahms, Film-Erzählung 112). 91 “She didn‟t scream” (Sanders-Brahms, Film-Erzählung 28). 92 “A German woman. A real German woman” (Sanders-Brahms, Film-Erzählung 28). 124
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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
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Beginning with the so-called recons
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Page 85 and 86: geworden” (Brecht, Werke 253). 55
Page 87 and 88: Eure Unarmung kann ich mir nicht de
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Page 105 and 106: Moreover she demonstrates insight a
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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‟
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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
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Page 167 and 168: irritated the critics terribly. It
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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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