'Murderer's House' - University of Victoria

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screen showing the dedication “Diese Geschichte ist einerseits für Lene und anderseits für Anna” (Sanders-Brahms, Film-Erzählung 8). 99 In my opinion, the image of Lene‟s golden ring evokes the idea that the entire film is the symbolic “evidence” of Lene‟s gendered experiences of the war and post-war era. If Sanders-Brahms had not told her mother‟s story in the public forum of film or through some other media, it would, like countless women‟s stories before it, have been suppressed from the historical record. Just as the ring in the final scene disappears into darkness, Lene‟s story would have faded into historical and cultural obscurity. In her voice-over commentary, Sanders-Brahms addresses the first close-up image of Lene, stating that while Lene learned to be silent, she, the filmmaker, learned to speak. While historical, cultural, and personal forces have conspired to silence Lene, her daughter finds a voice by creating a film recreating her mother‟s story. In conclusion, a central message of Deutschland, bleiche Mutter is that women must find a voice in order to take control of their personal stories and to share knowledge of their histories. Sanders-Brahms tells a story of a woman‟s gendered experiences of the war and post-war period and gathers “physical proof” in the form of authentic documentary footage that the horrors of war that shaped this story were real. In so doing, she takes a small step to insure that an aspect of German women‟s history heretofore considered peripheral and unimportant will be added to the historical and cultural discourse. By choosing the public medium of film to depict Lene‟s story, Sanders-Brahms sees that Lene‟s gendered experiences and the lessons of her personal story will not be forgotten, but will instead be accessible to her own daughter and to future generations of women. The story Sanders- 99 “This story is on one hand for Lene and on the other hand for Anna” (Sanders-Brahms, Film-Erzählung 8). 133
Brahms articulates represents an active intervention in history with a feminist message for the present: women must share knowledge of their gendered experiences in order to find a way out of the silence imposed upon them in patriarchal societies; women must use their voices to learn from the past and to create a better future. 134
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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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3.1 Intergenerational Dialogue in D
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geworden” (Brecht, Werke 253). 55
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Eure Unarmung kann ich mir nicht de
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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 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
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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: evocation of the Holocaust through
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
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
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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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