'Murderer's House' - University of Victoria

More documents

Recommendations

Info

R.R.: Maybe I can explain a little bit better. Both the miller‟s daughter in the fairy tale and Lene survive difficult situations with courage and intelligent thinking. For example the miller‟s daughter plants peas and lentils to find her way back home in case the ashes her bridegroom has spread should blow away. Lene survives the war by taking Anna to the east, by selling the silver on the black market, etc. In this way they are similar because they are very strong proactive women. On the flipside, both Lene and the miller‟s daughter see a murder and do not stop it because they are afraid they will get murdered too. In this way they are like Germans of the war era who couldn‟t do a lot to stop the crimes of the National Socialist because they were afraid that they would also be punished. What do you think of this idea? H.S.-B.: Yeah. That‟s right. It‟s reflected in the fairy tale. The content of the fairy tale is that there is the crime and somebody watches the crimes and is unable to stop the crime. She might also be a victim if she would stop it. So it was safer to do nothing and stay alive. R.R.: Some critics have criticized Lene for not having agency in the film, for not having power in the film, as a woman. But, in my opinion, she wouldn‟t have had a lot of historical power. H.S.-B.: No. 149
R.R.: Some critics say that she is “outside of history.” But in my opinion, at that era, in that time, with that government she wouldn‟t have had a lot of power. H.S.-B.: No, and I think this way of criticizing is very dangerous because it comes out of an opinion that people can be courageous under all circumstances. Sometimes it‟s not courageous to be courageous. And when you are with a child, like Lene is, when you are with a child, to be courageous, in the sense of these critics, would put this child into terrible danger. And also, this is a question of why would you want to set the life of a child at risk just for a courageous action. To me, it seems very uncourageous. It seems like easy thinking. Yesterday I saw a film that is now playing in Germany. Effi Briest, a version of Effi Briest. Well the Effi Breist of Fontane is just a victim. In this film they try to make her into a kind of non-victim, just following these kinds of critics who would all be very happy [with this depiction]. But I feel that this is destroying the special character of this woman. I had the impression that the actress is fighting with the difficulties. She is set up to be courageous, and actually, when you see what happens to her, she isn‟t. One gesture that shows that she is courageous is that she smokes…Well, I mean… (laughs). R.R.: Is smoking courageous? (Both laugh) H.S.-B.: I think this is a very important point and we have to go a little further to understand it. What I feel is that our society, the Western industrial society, is about to have, as the ancient Chinese would have said, far too much yang and far too little yin. Do 150
Page 1 and 2:
Storytelling and Survival in the
Page 3 and 4:
Supervisory Committee Dr. Helga Tho
Page 5 and 6:
3.1 Intergenerational Dialogue in D
Page 7 and 8:
I would like to dedicate this thesi
Page 9 and 10:
Sanders-Brahms describes a phenomen
Page 11 and 12:
that Sanders-Brahms uses the fairy
Page 13 and 14:
early 1980s by a wave of historical
Page 15 and 16:
Deutschland, bleiche Mutter. Moreov
Page 17 and 18:
audience. One of the most popular g
Page 19 and 20:
1.1 The Oberhausen Manifesto and Ne
Page 21 and 22:
audiences. This film movement of th
Page 23 and 24:
e beholden to him, for only through
Page 25 and 26:
political events that took place in
Page 27 and 28:
Verdrängten eigentlich gar nicht g
Page 29 and 30:
(Deutschland im Herbst n. pag.). 14
Page 31 and 32:
in drei Jahrzehnten Nachkriegsgesch
Page 33 and 34:
impact West Germans in such a drama
Page 35 and 36:
If German films are to make use of
Page 37 and 38:
1.4 Deutschland, bleiche Mutter as
Page 39 and 40:
story must be hidden as much as pos
Page 41 and 42:
Chapter 2: New Subjectivity and Wes
Page 43 and 44:
Reich” opposes fascism, but who e
Page 45 and 46:
direct and personal confrontation w
Page 47 and 48:
context has only become part of the
Page 49 and 50:
perpetrators are defined predominan
Page 51 and 52:
Thus, Sanders-Brahms creates a coun
Page 53 and 54:
In the birth sequence, Sanders-Brah
Page 55 and 56:
ombs fall downward from the upper r
Page 57 and 58:
narrator‟s sadness at the destruc
Page 59 and 60:
essentialize men or women‟s exper
Page 61 and 62:
image visually separates the runnin
Page 63 and 64:
emotional connection between mother
Page 65 and 66:
endurance and stoic acceptance of b
Page 67 and 68:
texture which is both social and hi
Page 69 and 70:
ombings terrorized civilian populat
Page 71 and 72:
y war. A final interesting point of
Page 73 and 74:
Maikäfer flieg. dein Vater ist im
Page 75 and 76:
Why does Lene sing the Maikäferlie
Page 77 and 78:
Beginning with the so-called recons
Page 79 and 80:
elationship. Through its subjective
Page 81 and 82:
a series of forty-one volumes publi
Page 83 and 84:
3.1 Intergenerational Dialogue in D
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
Page 91 and 92:
and springs into the lap of the hid
Page 93 and 94:
apes were collectively perceived as
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
Page 101 and 102:
can imagine the chimney blowing out
Page 103 and 104:
Chapter 4: Three Images of Woman in
Page 105 and 106: Moreover she demonstrates insight a
Page 107 and 108: victimization of another through he
Page 109 and 110: in an effort to help, Lene quickly
Page 111 and 112: Liebe, Ehe, ein Kind” (Sanders-Br
Page 113 and 114: knowingly or unknowingly, to make p
Page 115 and 116: passively complicit in the crimes o
Page 117 and 118: Contrastingly, in the middle and la
Page 119 and 120: traditional gender roles and emphas
Page 121 and 122: The old woman‟s constructive fema
Page 123 and 124: the severed finger at the tale‟s
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 and 134: forced back into the oppressive dep
Page 135 and 136: daughter in what becomes an interge
Page 137 and 138: authentic documentary footage of th
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: H.S.-B.: Yes, you‟re right, it‟
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
show all

'Murderer's House' - University of Victoria

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?