'Murderer's House' - University of Victoria

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you know this famous drawing, the circle of life? One side is black with a white point in it and the other side is white with a black point in it. That means that even in the white is something black and even in the black is something white. You understand? [H.S.-B. draws the ying-yang symbol in R.R.‟s notebook]. R.R.: Yes. H.S.-B.: I don‟t know whether you have studied this old Chinese philosophy, but the thing is that I feel that our life today is too much influenced by the ideas of yang; the bright, courageous, and the fighting existence. But in order to create harmony, there has to be the dark side, the side of relaxing, reflecting, the Chinese would have said the female side because it is also the side of creation. Out of the darkness comes the creative, not out of the bright. You understand? R.R.: Yes. H.S.-B.: In my opinion we are too much in this [points to the yang] and we are forgetting about this [points to the yin]. And this creates too much brightness, too much light, too much noise, too much fight and too little reflection, too little time for reflection. I think this is something that is about to destroy this planet. We all feel it, we call it the Klimakatastrophe [climate crisis] but it‟s not only the Klimakatastrophe, it‟s also a catastrophe going also inside human beings in their lives, in the way they live, in the way they create their works. I told you about these two scenes, the May beetle and the flies. 151
They just appeared during shooting. They happened to be there. And it was just by being aware and using them that I found two of my nicest images. I could have just ignored them and they wouldn‟t be in the film. This is the way creative processes should happen, I feel. When you think about jazz or Indian music, the part of inventing [improvising] plays an enormous role. The rule is just that you invent in the moment itself. But it‟s only out of a completely quiet mind that you can invent in the moment. We think that everything has to be carefully prepared. It‟s true, it‟s good, but it‟s not enough. If something is to really touch you profoundly, then it is already there. You just have to find it. R.R.: So it‟s taking the time to look for those moments? H.S.-B.: Not taking the time, but just being open to those moments, not only speaking but also listening. R.R.: Okay. So, would you say that Lene is like the old woman because both women are prisoners in the houses of men and are expected to serve these men? On the other hand, both Lene and the old woman help other women. The old woman helps the miller‟s daughter escape with the sleeping potion and Lene helps Ana survive the war. What do you think about this idea? H.S.-B.: Yes. True. I like it. 152
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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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Chapter 4: Three Images of Woman in
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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 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
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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 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: R.R.: Some critics say that she is
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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