'Murderer's House' - University of Victoria

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the world, was that many women, not only women that had lived through Second World War, but many women who had lived through other wars, in India, in Japan, for example, or in countries like Iran, they loved the film because it showed what the women had lived through themselves. Of course, in Iran, the film cannot be shown officially, but there are many people who know the film. The same in Russia…And, you know, it‟s a film that really, for many women, was a discovery because, for the first time, they saw their experiences reflected in a film. R.R.: It‟s certainly true that it was one of the first films that showed women‟s and children‟s experiences of war. Okay. So, the third question is actually really along those lines. In my thesis, I argue that your film makes our understanding of German history richer, because it shows the war and post-war period from a woman‟s perspective, a point of view which has, for much too long, been ignored or suppressed in traditional grand narratives of German history. This film, in my opinion, shares a goal with oral history because it tells a history from below. What do you think of this description of your film? H.S.-B.: That‟s very nicely seen (put) and I agree. And this is also why the voice-over of the child is there. Because, it‟s to show that oral history is transported. The voice of the grown-up child tells the story to her daughter in a way. So this is really already a way of showing oral history, oral history transported in a film. R.R.: So, my supervisor‟s question is about the daughter. Her question was: “Which girl in the film is your daughter?” 137
H.S.-B.: There is a very small baby that the mother has in her arms. This is not my daughter. But there is a child who is a little bit taller, with her hair sticking out [on end]. That is my daughter. We called her dandelion at that time because somehow her hair looked like dandelions when they fly away… R.R.: Has your daughter also promoted this film? Has she also spoken about this film? H.S.-B.: Oh yes, many times in Japan, especially in Japan. She has accompanied me to Japan, and Japanese people were so fond of her, and she was so fond of Japanese people that she started to learn Japanese. So, she was invited several times to present the film. R.R.: That‟s great. So, one of the main themes of this film is a dialogue between generations. In my opinion, the Brecht poem at the beginning of the film, your voice-over comments to Lene, the fact that your daughter plays Anna at one point in the film, and also the fact that you dedicate the film to Lene and Anna all contribute to this dialogue. What are your thoughts on this? H.S.-B.: That‟s right. Very good. It‟s very nicely seen (put). It‟s especially what I wanted to do with this film. We live in a period of human history where the generations, and the messages that they transport from one generation to the other, have been destroyed. I mean, we have separated the old from the middle age, the middle age from the young, and the young from the children. So what happened throughout thousands of 138
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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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3.2 Retelling a Grimm Tale: Voice a
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and springs into the lap of the hid
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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 117 and 118: Contrastingly, in the middle and la
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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
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Page 143: H.S.-B.: Well, one answer to this q
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Page 149 and 150: R.R.: So an example of that would b
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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
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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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