'Murderer's House' - University of Victoria

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R.R.: Maybe? There are so many different ways to interpret the film. Okay, last question. You are probably getting tired. Oh, actually, I have two more questions from my supervisor, but this is the last question from me. Why do you think some West German critics reacted negatively to the film when it premiered at the Berlinale in 1980? Why do you think the film had a more positive reception in France, Italy, the USA, and Japan, Iran, etc.? Do you think it is fair to say that German critics reacted negatively to the film because you broke a social taboo by dealing with National Socialism through a personal story? H.S.-B.: Yes. But on the other hand, several films were made that were personal stories. But they were personal stories that were more or less about people who had behaved well during fascism. This is a constant theme…You always show the well-behaved man who fights against Nazis. And then, of course, there were men‟s stories, mostly men or boys‟ stories. Like for example, Die Brücke [The Bridge] by Bernhard Wicki. And, to me, all these films did not really convince me because I felt that things were much more complex. I lived through them as a small child. I understood them as more complex. What made Germany, Pale Mother to be so well received in France, Italy, Canada, the United States, and all over the world, actually, India, was the fact that this film, is a very complex film. It is not just telling a nice story about something in a brutal and horrible time, but it‟s very complex. I think this complexity that Lene is not a Nazi, but she is not a fighter against fascism either. Her husband is not a Nazi, but he is also not a fighter against Nazism. And, at special times, he also uses phrases of the Nazis for himself. This complexity was seen as something that you shouldn‟t really do in a film. So it 159
irritated the critics terribly. It also irritated them to see that the friend [Ulrich] is a Nazi. I can imagine how they would react today. Even today they would be irritated. They are still irritated about what I make and they do not feel quite comfortable about what I am doing. R.R.: Could you say that it was a defensive reaction, in a way? H.S.-B.: Yes. Because, in a way, to react to this film is difficult for a German. R.R.: Do you think it‟s easier for a non-German to watch the film because they are more distant from it? H.S.-B.: Yes. R.R.: My supervisor‟s question was: “How do you see the film fitting into notions of feminism at the time?” How does your film fit into feminism? H.S.-B.: Very little. I did not at all want to make a feminist film. I wanted to make a true film, a film that was true to what I have seen and lived through. My mother‟s reaction when she saw the film for the first time was wonderful because she said, “This is not correct, but it is true.” Which I would have wanted as an answer to my film. 160
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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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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 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: H.S.-B.: This happened to my mother
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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