'Murderer's House' - University of Victoria

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eplaces murder by creating understanding. And it‟s a process you can compare to a mother teaching her child how to speak. It‟s creating out of something that is in the darkness, bringing it to understanding, to civilized, cultural behaviour. That is to say, to understand other people, to approach them, to love them, to help them. R.R.: So could you say that for example, in the fairy tale, through storytelling, the miller‟s daughter brings the murderers to justice. Could you say that through telling your mother‟s story…you don‟t bring the murderers to justice, but you show another side of German history and ensure that the lessons of this history will not be lost for future generations? Do you agree? H.S.-B.: Maybe. It depends on how long the film will survive. Normally film is not a very long-lasting material. But, actually, in France, the film has been re-released on December 10 th . And it had the nice support from the press. R.R.: I only have a few more questions. Did you intend Lene‟s Gesichtslähmung, her facial paralysis, to represent the paralysis of her spirit? H.S.-B.: Yes, in a way it was. But what happens to our body is always a reflection of what happens to our soul. R.R.: And also, Lene‟s face is divided. She wears this Tuch, this cloth over her face… 157
H.S.-B.: This happened to my mother, this really happened to her. And my childhood is traumatized by this vision of her. Losing her beautiful face, and again, losing her teeth. That was terrible. R.R.: Some critics have said that through the division of Lene‟s face, you are trying to show the divided Germany. What do you think of this? H.S.-B.: Somehow it is too easy. R.R.: Too easy. That is what I thought. To continue, the idea of showing the finger, of showing proof is very important in the fairy tale. In my thesis I argue that this whole film, in a sense, is a finger in that you show "proof" of a side of history that is often forgotten, a German woman‟s experience of the Second World War. Also, the documentary images are like the finger because they are the historical proof of the war. What do you think of this idea? H.S.-B.: Nice idea. I like that. I like that very much. R.R.: Is that what you intended? H.S.-B.: Maybe (smiles). 158
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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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in an effort to help, Lene quickly
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Liebe, Ehe, ein Kind” (Sanders-Br
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Page 117 and 118: Contrastingly, in the middle and la
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Page 133 and 134: forced back into the oppressive dep
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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
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Page 149 and 150: R.R.: So an example of that would b
Page 151 and 152: political context of the fictional
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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: R.R.: So, by telling your story, yo
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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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