'Murderer's House' - University of Victoria

More documents

Recommendations

Info

Evans, Richard J. Rereading German History: From Unification to Reunification. New York: Routledge, 1997. Everett, Wendy. “Through the I of the Camera: Women and Autobiography in Contemporary European Film.” Studies in European Cinema 4.2 (2007):125-136. Fassbinder, Rainer Werner. “„I Let the Audience Feel and Think.‟ Interview with Norbert Sparrow.” Cineaste 8.1 (1977): 20-21. Fehervary, Helen, Claudia Lenssen and Judith Mayne. “From Hitler to Hepburn: A Discussion of Women‟s Film Production and Reception.” New German Critique 24-5 (1982): 172-185. Fehrenbach, Heide. Cinema in Democratizing Germany: Reconstructing National Identity after Hitler. Chapel Hill, NC: University of North Carolina Press, 1995 Fischli, Bruno. “Coming to Terms with the Past in Film.” The Third Reich in the Films of The Federal Republic of Germany. Munich: Goethe Institute, 1982. Flinn, Caryl. The New German Cinema: Music, History, and the Matter of Style. Berkeley: University of California Press, 2004. Frauengruppe Faschismusforschung. Mutterkreuz und Arbeitsbuch: Zur Geschichte der Frauen in der Weimarer Republik und im Nationalsozialismus. Frankfurt am Main: M. Fischer-Taschenbuch-Verlag, 1981. Furhammar, Leif and Folke Isaksson. Politics and Film. Trans. Kersti French. London: Studio Vista, 1971. Gerstenberger, Katharina. “Mother-Daughter Relationship.” The Feminist Encyclopedia of German Literature. Ed. Susanne Kord. Westport, CT: Greenwood Press, 1977. Giannetti, Louis D. Understanding Movies. Englewood Cliffs, NJ: Prentice-Hall, 1972. Grossman, Atina. “A Question of Silence: The Rape of German Women by Occupation Soldiers.” October 72 (1995): 43-63. Halle, Randall and Margaret McCarthy. Eds. Light Motives: German Popular Film in Perspective. Detroit: Wayne State University Press, 2003. Heidelberger-Leonard, Irène. “Brecht, Grimm, Sanders-Brahms–Drei Variationen zum selben Thema: Deutschland, bleiche Mutter.” Études Germaniques 39 (1984): 51- 55. 165
Herbst, Philip. Wimmin, Wimps and Wallflowers: An Encyclopaedic Dictionary of Gender and Sexual Orientation Bias in the United States. Yarmouth, ME: Intercultural Press, 2001. Hillman, Roger. Unsettling Scores: German Film, Music, and Ideology. Bloomington, IN: Indiana University Press, 2005. Hirsch, Marianne. Family Frames: Photography, Narrative, and Postmemory. Cambridge, MA: Harvard University Press, 1997. ---. “Surviving Images: Holocaust Photographs and the Work of Postmemory.” Yale Journal of Criticism 14.1 (2001): 5-37. Höhne, Heinz. “Schwarzer Freitag für die Historiker: Holocaust: Fiktion oder Wirklichkeit? Der Spiegel (29 Jan 1979): 22-23. “Holocaust: Die Vergangenheit kommt zurück.” Der Spiegel (Jan 1979): 17-28. Hyams, Barbara. “Is the Apolitical Woman at Peace? A Reading of the Fairy Tale in Germany, Pale Mother.” Wide Angel 10.3 (1988): 40-51. Jarvis, Shawn. “Trivial Pursuit? Women Deconstructing the Grimmian Model in the Kaffeterkreis.” The Reception of Grimms’ Fairy Tales: Responses, Reactions, Revisions. Ed. Donald Haase. Detroit: Wayne State University Press, 1993. 102- 126. Kaes, Anton. From Hitler to Heimat. The Return of History as Film. Cambridge, MA: Harvard University Press, 1989. Kaplan, E. Ann. “The Search for the Mother/Land in Sanders-Brahms‟s Germany, Pale Mother.” German Film & Literature: Adaptations and Transformations. Ed. Eric Rentschler. New York: Methuen, 1986. 289-303. Kaplan, Marion. The Jewish Feminist Movement in Germany: The Campaigns of the Jüdischer Frauenbund. Wesport, CT: Greenwood Press, 1979. Kluge, Alexander. Die Patriotin: Texte / Bilder 1-6. Frankfurt am Main: Zweitausendeins, 1979. Kluge, Alexander and Enno Patalas. Abschied von gestern. Protokoll. Protokolliert nach dem Original des Films von Enno Patalas. Frankfurt am Main: Verlag Filmkritik, 1967. Knight, Julia. New German Cinema: Images of a Generation. London: Wallflower, 2004. ---. Women and the New German Cinema. New York: Verso, 1992. 166
Page 1 and 2:
Storytelling and Survival in the
Page 3 and 4:
Supervisory Committee Dr. Helga Tho
Page 5 and 6:
3.1 Intergenerational Dialogue in D
Page 7 and 8:
I would like to dedicate this thesi
Page 9 and 10:
Sanders-Brahms describes a phenomen
Page 11 and 12:
that Sanders-Brahms uses the fairy
Page 13 and 14:
early 1980s by a wave of historical
Page 15 and 16:
Deutschland, bleiche Mutter. Moreov
Page 17 and 18:
audience. One of the most popular g
Page 19 and 20:
1.1 The Oberhausen Manifesto and Ne
Page 21 and 22:
audiences. This film movement of th
Page 23 and 24:
e beholden to him, for only through
Page 25 and 26:
political events that took place in
Page 27 and 28:
Verdrängten eigentlich gar nicht g
Page 29 and 30:
(Deutschland im Herbst n. pag.). 14
Page 31 and 32:
in drei Jahrzehnten Nachkriegsgesch
Page 33 and 34:
impact West Germans in such a drama
Page 35 and 36:
If German films are to make use of
Page 37 and 38:
1.4 Deutschland, bleiche Mutter as
Page 39 and 40:
story must be hidden as much as pos
Page 41 and 42:
Chapter 2: New Subjectivity and Wes
Page 43 and 44:
Reich” opposes fascism, but who e
Page 45 and 46:
direct and personal confrontation w
Page 47 and 48:
context has only become part of the
Page 49 and 50:
perpetrators are defined predominan
Page 51 and 52:
Thus, Sanders-Brahms creates a coun
Page 53 and 54:
In the birth sequence, Sanders-Brah
Page 55 and 56:
ombs fall downward from the upper r
Page 57 and 58:
narrator‟s sadness at the destruc
Page 59 and 60:
essentialize men or women‟s exper
Page 61 and 62:
image visually separates the runnin
Page 63 and 64:
emotional connection between mother
Page 65 and 66:
endurance and stoic acceptance of b
Page 67 and 68:
texture which is both social and hi
Page 69 and 70:
ombings terrorized civilian populat
Page 71 and 72:
y war. A final interesting point of
Page 73 and 74:
Maikäfer flieg. dein Vater ist im
Page 75 and 76:
Why does Lene sing the Maikäferlie
Page 77 and 78:
Beginning with the so-called recons
Page 79 and 80:
elationship. Through its subjective
Page 81 and 82:
a series of forty-one volumes publi
Page 83 and 84:
3.1 Intergenerational Dialogue in D
Page 85 and 86:
geworden” (Brecht, Werke 253). 55
Page 87 and 88:
Eure Unarmung kann ich mir nicht de
Page 89 and 90:
3.2 Retelling a Grimm Tale: Voice a
Page 91 and 92:
and springs into the lap of the hid
Page 93 and 94:
apes were collectively perceived as
Page 95 and 96:
3.4 “Der Räuberbräutigam,” Po
Page 97 and 98:
with its ironic “Arbeit macht fre
Page 99 and 100:
Further, the absence or presence at
Page 101 and 102:
can imagine the chimney blowing out
Page 103 and 104:
Chapter 4: Three Images of Woman in
Page 105 and 106:
Moreover she demonstrates insight a
Page 107 and 108:
victimization of another through he
Page 109 and 110:
in an effort to help, Lene quickly
Page 111 and 112:
Liebe, Ehe, ein Kind” (Sanders-Br
Page 113 and 114:
knowingly or unknowingly, to make p
Page 115 and 116:
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
Page 121 and 122: The old woman‟s constructive fema
Page 123 and 124: the severed finger at the tale‟s
Page 125 and 126: and calm camera movements. In contr
Page 127 and 128: The dentist and Hans completely ove
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
Page 135 and 136: daughter in what becomes an interge
Page 137 and 138: authentic documentary footage of th
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 and 168: irritated the critics terribly. It
Page 169 and 170: opening up, but actually, the strug
Page 171: ---. Brecht on Theater. Ed. and Tra
Page 175 and 176: ---. “Gender, Film, and German Hi
Page 177: Sander, Helke and Barbara Johr. Eds
show all

'Murderer's House' - University of Victoria

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?