'Murderer's House' - University of Victoria

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R.R.: So you‟re a storyteller in the sense that you are not judging what happened. You are just presenting it. H.S.-B.: Yes. R.R.: Her last question is: “Were you trying to move discussions of feminism, history, and memory to a new level in this film?” H.S.-B.: Yes. I think film is a wonderful tool to stimulate people. Film, in the way I want to use it, should be stimulating, and give not only information, or just emotion, but it should give them a complex and wonderful sight [view] of the world. And this can be, in this film, putting together pieces [of different media] like fairy tale, and documentary, and fiction, like in a mosaic…different colours also…This can also happen in a very strictly told story. It‟s not a question of form; it‟s a question of truth. A search for truth. It‟s not a question of whether there are dragons or coffee glasses in the frame. It‟s not important. It‟s important that the sense of what is happening is true. And truth is also always a very complex thing. As you can see from the yin-yang structure, it is a complex thing. There is always a point of black in the white and a point of white in the black. It‟s always turning. The black replaces the white and the white replaces the black, like day is replaced by the night and night is replaced by the day. Summer is replaced by autumn, and autumn is replaced by winter, and winter is replaced by spring. That is the way our lives function. In a way, when it‟s summer, we have the impression that the world is 161
opening up, but actually, the struggles of life, inside the trees and inside the earth, happen when winter comes, only you can‟t see it. This is also what nature teaches us. R.R.: And you also show that with Lene, too, because you show many sides to her. You know, she is very active, she is singing a lot in the war period, but she becomes depressed in the post-war period. So you show that there are many sides to the same person, that they are multifaceted. H.S.-B.: Yes. R.R.: One more question. Can you watch this film now? H.S.-B.: Rarely. Not really. It‟s very difficult for me to see my films after I finish them. R.R.: Why is that? H.S.-B.: I don‟t know. It‟s just something that is behind me. I can talk about them, but I can‟t judge them. Once it starts, I‟m inside them. I have the impression I get back inside my own history. 162
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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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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 125 and 126: and calm camera movements. In contr
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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 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 and 166: H.S.-B.: This happened to my mother
Page 167: irritated the critics terribly. It
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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