'Murderer's House' - University of Victoria

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Works Cited Abschied von Gestern. Dir. Alexander Kluge. 1966. DVD. Edition Filmmuseum, 2007. VIII. Westdeutsche Kurzfilmtage Oberhausen. Bericht 1962, Oberhausen 1963, 119. Adelson, Leslie. “Subjectivity Reconsidered: Botho Strauss and Contemporary West German Prose.” New German Critique 30 (1983): 3-59. Aitken, Ian. European Film Theory and Cinema: A Critical Introduction. Bloomington IN: University of Indiana Press, 2001. Anonymous. A Woman in Berlin. Trans. James Stern. New York: Harcourt Brace, 1954. Anonymous. Eine Frau in Berlin. Tagebuchaufzeichnungen. Geneva: Hulmut Kossodo, 1959. Atwood, Margaret. “Significant Moments in the Life of My Mother.” Bluebeard’s Egg and Other Stories. Toronto: McClelland-Bantam, 1984. Bammer, Angelika. “Through a Daughter‟s Eyes: Helma Sanders-Brahms‟ Germany Pale Mother.” New German Critique 36 (1985): 91-109. Baumel, Judith. Double Jeopardy: Gender and the Holocaust. Portland, OR: Vallentine Mitchell, 1998. BeFreier und Befreite: Kreig, Vergewaltigungen, Kinder. Dir. Helke Sander. 1992. DVD. Neue Visionen Medien, 2006. Bergmann, C. “Sheer Madness: An Interview with Margarethe von Trotta.” Cineaste 13.4 (1984): 47. Blackwell, Jeannine. “The Historical Context of German Women‟s Fairy Tales.” Introduction. The Queen’s Mirror: Fairy Tales by German Women, 1780–1900. Eds. and trans. Shawn C. Jarvis and Jeannine Blackwell. Lincoln: University of Nebraska Press, 2001. 1-10. Bommes, Michael and Patrick Wright. “Charms of Residence: The Public and the Past.” Making Histories: Studies in History-Writing, and Politics. Ed. Richard Johnson et al. London: Hutchison, 1982. 253-301. Brecht, Bertolt. Bertolt Brecht Werke. Band 11 Bertolt Brecht Gedichte I. Sammlungen 1918-1938. Eds. Jan Knopf und Gabriele Knopf. Frankfurt am Main: Suhrkamp, 1988. 163
---. Brecht on Theater. Ed. and Trans. John Willet. ---. Poems 1913-1956. Eds. John Willet and Ralph Manheim. London: Methuen, 1976. Bridenthal, Renate, Atina Grossmann, and Marion Kaplan. Eds. When Biology Became Destiny: Women in Weimar and Nazi Germany. New York: Monthly Review Press, 1984. Brunette, Peter. “Helma Sanders-Brahms: A Conversation.” Film Quarterly 44.2 (1990- 1991): 34-42. Buitenhuis, Penelope, Judith Plessis, and Steven Taubeneck. “Interview and Excerpts from a Master Class with Helma Sanders-Brahms.” Women Filmmakers Refocusing. Ed. Jacqueline Levitin et al. New York: Routledge, 2003. Buruma, Ian. The Wages of Guilt. Memories of War in Germany and Japan. London: Jonathan Cape, 1994. Cook, Roger F. “Melodrama or Cinematic Folktale? Story and History in Deutschland, bleiche Mutter.” The Germanic Review 66.3 (1991): 113-21. Davies, Mererid Puw. “„Du bist in einem Mörderhaus‟: Representing German History through the Märchen of „Blaubart‟ and „Der Räuberbräutigam‟ in Works by Dieter Hildebrandt and Helma Sanders-Brahms.” Representing the German Nation: History and Identity in Twentieth-century Germany. Eds. Mary Fullbrook and Martin Swales. Manchester: Manchester University Press, 2000. 118-135. Deutschland, bleiche Mutter. Dir. Helma Sanders-Brahms. 1979. Videocassette. Facets Video, 1999. Deutschland im Herbst. Dir. Rainer Werner Fassbinder et al. 1978. Videocassette. World Artists Home Video, 1996. Elias, Norbert. “Gedanken über die Bundesrepublik, Herbst 1977.” Merkur 439-440 (1985): 733-755. Elsaesser, Thomas. New German Cinema: A History. Basingstoke, Hampshire: Macmillan, 1989. ---. “Tales of Sound and Fury: Observations on the Family Melodrama.” Mongram 4 (1973): 2-15. “Endlösung im Abseits.” Der Spiegel (15 Jan 1979): 133. 164
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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
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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 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 and 168: irritated the critics terribly. It
Page 169: opening up, but actually, the strug
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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