'Murderer's House' - University of Victoria

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H.S.-B.: Yes, of course, this is a Brechtian style. I tried to create a line that is understandable for a child, but maybe not for a child of that age. Anyway, children watching things like that, they cannot reflect, they see that something happens. But if the mother would react by crying and fighting against the soldiers, and the soldier fighting against her, the child would be much more traumatized than it is in this scene. R.R.: So is this a way that Lene helps her daughter through the war? H.S.-B.: Yes. R.R.: That was my interpretation. H.S.-B.: It was my idea that I would have reacted that way. Well, I think it is a typical male reaction to say that she should fight and scream because maybe men want to see that. Maybe rape is also made for that. I know from critics that they usually think that women have to scream, and cry, and show themselves as really weak. R.R.: I understood Lene‟s answer to Anna as an ironic critique or on how post-war German society expected German women who had been raped to be silent about the rapes. This is emphasized by the next line of the fairy tale where Lene says, “Mein Schatz, das träumte mir nur” [“My dear, it was only a dream” (Sanders-Brahms, Film- Erzählung 96)]. What do you think of this interpretation? 147
H.S.-B.: Yes, you‟re right, it‟s ironic. She‟s dreaming of revenge, she‟s dreaming of justice, but it‟s a dream. Justice doesn‟t exist. R.R.: Especially in that situation. I did some research on Helke Sander‟s film Befreier and Befreite and only one woman who was raped during the war claimed that she was a war victim. Most other women were silent because that is what society expected of them. H.S.-B.: Yes, I think so. I mean, in front of a normal man in the street who tries to rape you it makes sense to cry or to shout because there might be a policeman or other people to help you. But when the soldiers are up to their necks in weapons and machine guns, it‟s useless. And it stimulates them! The horrible thing is that to cry stimulates them and makes them more cruel. R.R.: Yes. In an interview with Renate Möhrmann you said that the fairy tale “Räuberbräutigam” is important to the film because it describes German history and Lene‟s story in a very transparent metaphor. Germany becomes a house of murderers and Lene, like the miller‟s daughter in the fairy tale, has deep fears of men, especially male warriors. I interpreted the fairy tale in a different way. I felt that the actions of the three female characters in the fairy tale, those being the miller‟s daughter, the old woman and the murdered girl, mirror the way Lene acts in the war and post-war years. H.S.-B.: Hmmm? 148
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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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apes were collectively perceived as
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3.4 “Der Räuberbräutigam,” Po
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with its ironic “Arbeit macht fre
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Further, the absence or presence at
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can imagine the chimney blowing out
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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
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: was a wonderful image, like the May
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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