'Murderer's House' - University of Victoria

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R.R.: Also, to go further into that, Lene is a prisoner at the beginning and at the end of the film, but in the middle she experiences freedom, whereas the old woman disappears from the story. H.S.-B.: Yes, but it the freedom of destruction. Destruction has a part of itself that is creative. I mean, just think of the Indian god Shiva. He destroys the world under his feet and is creating a baby at the same time. That‟s how the world functions. We all know that. Someone dies and a child is born at the same time. That‟s how life works. But we try to ignore it because it belongs to that part that happens and that we cannot influence. R.R.: And you have the idea of the child talking about how she wanted to be a witch with Lene and fly over the rooftops. So is that an idea of freedom through the destruction? H.S.-B.: Yeah, but it also means that in this destruction, the house of men is destroyed. The walls and doors and windows are open. You can fly. And of course witchcraft is something that is related to strong women, that has always been related to strong women since the beginning of mankind. Men have always been afraid of witchcraft. Because witchcraft comes from here (points to her stomach). It‟s not a thing of the head; it‟s a thing of the Bauch, the belly, the womb. Ourselves, we are constructing children and destroying food at the same time. R.R.: So, the last woman of the fairy tale is the murdered bride, the woman that the miller‟s daughter sees murdered. So, both the murdered bride and Lene at the end of the 153
film represent the woman who responds to men‟s violence in a somewhat passive way. For example, the murdered maiden is forced to drink so she cannot stop the men from murdering her. She becomes hysterical. Lene, for example, does not stop the dentist from pulling her teeth by leaving the dentist‟s office. At the end of the film Lene starts drinking, she takes drugs, and then tries to kill herself. Do you feel that the murdered maiden and Lene are similar in how they react to men‟s violence? H.S.-B.: Not really similar…Yes, but in a way there is an analogy in that. Yes, right. There is this analogy between the woman who has to drink the red wine, the white wine, the yellow wine, and Lene who is drinking at the end and destroying herself, yes. Of course, it‟s the result of what Lene has lived through that is now haunting her. R.R.: Okay, that was my next question. H.S.-B.: Because now she is in the cage somehow. She is locked in the cage. The doors are closed and the walls are there. R.R.: In your film, you say that when she lost the ability to use the skills she developed in the war, she lost her face. Is that the idea of returning to the cage and not feeling useful anymore? Of feeling depressed? H.S.-B.: I think she lost her face but somehow she found her face also. I mean the face that she had at the end of the film is her face. It‟s her face, but it‟s a distorted face, and 154
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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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victimization of another through he
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Page 113 and 114: knowingly or unknowingly, to make p
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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
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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 and 158: R.R.: Some critics say that she is
Page 159: They just appeared during shooting.
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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