'Murderer's House' - University of Victoria

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mother who survived the war years profoundly affected her personal identity as a woman. The filmmaker‟s speech is rooted in her positive memories of her mother as a figure of independence, personal agency, and strength. In the preface of the film script, Sanders- Brahms claims that daughters of the generation of German women who lived through the war developed a sense of independence and self-sufficiency from the role models of their strong mothers. She writes: 127 Aber wir, Kinder der Generation, die noch im Kreig geboren wurden, haben [die Kraft unserer Mütter] mitbekommen. Es ist kein Wunder, daß Frauen wie Gesine Strempel, Helke Sander, Margarethe von Trotta, Alice Schwarzer, Grischa Huber alles Trümmer Kinder sind, Kinder dieser Mütter. Frauen, die ohne Männer leben, wie sie es in den ersten Lebensjahren von ihren Müttern gesehen haben. Sie kriegen die Geschichte ihrer Mütter nicht mehr aus dem Kopf. Emanzipation war die erste Erfahrung ihrer Kindheit, eine viel weitergehende Emanzipation als die unsere […] Nie wieder habe ich meine Mutter singen gehört. Damals sang sie viel. (Sanders-Brahms, Film-Erzählung 26) 94 As a female filmmaker working during the second wave of feminism in Germany, Sanders-Brahms makes use of the positive models of strength her mother handed down to her during the first years of her life to create a film of her mother‟s story. Sanders- Brahms‟ portrayal of her memories of her mother as a resilient survivor of war, homelessness, and sexual violence, and as an industrious Trümmerfrau gave her the strength to realize female potential that was often rendered ineffectual during the post- war years (Kaes 160). In Deutschland, bleiche Mutter, Lene‟s retelling of the “Räuberbräutigam” is significant, because it is in her role as „storyteller‟ that Lene possesses an influential voice and is able to transmit cultural and personal wisdom to her 94 “But we children of that generation, born during the war, realized [the strength of our mothers]. It was not surprising that women like Gesine Strempel, Helke Sander, Margarethe von Trotta, Alice Schwarzer, Grischa Huber are all children of the ruins, children of these mothers. Women who live without men, something that they learned from their mothers in the first years of life. They cannot get their mother‟s history out of their minds. Emancipation was their first childhood experience, a much more profound emancipation than ours […] Never again have I heard my mother sing. At that time, she sang a lot” (Sanders-Brahms, Film-Erzählung 26).
daughter in what becomes an intergenerational dialogue. This passing of information between generations again resurfaces in the making of the film as Sanders-Brahms comes to speech articulating the hidden history of her mother‟s war and post-war experiences. 128
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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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elationship. Through its subjective
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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 95 and 96: 3.4 “Der Räuberbräutigam,” Po
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Page 99 and 100: Further, the absence or presence at
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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 117 and 118: Contrastingly, in the middle and la
Page 119 and 120: traditional gender roles and emphas
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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: 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
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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