'Murderer's House' - University of Victoria

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Koch, Gertrude. “That‟s Why Our Mothers were such Nice Chicks.” New German Critique 36 (1985): 16-20. Koonz, Claudia. Mothers in the Fatherland: Women, the Family and Nazi Politics. New York: St. Martin‟s Press, 1987. Kosta, Barbara. Recasting Autobiography. Women’s Counterfictions in Contemporary German Literature and Film. Ithaca, NY: Cornell University Press, 1994. Laska, Vera. Ed. Women in the Resistance and in the Holocaust: The Voices of Eyewitnesses. Westport, CT: Greenwood Press, 1983. Landwehr, Margarete Johanna. “Märchen as Trauma Narrative. Helma Sanders- Brahms‟s Film Germany, Pale Mother.” Folklore/Cinema: Popular Film as Vernacular Culture. Eds. Sharon R. Sherman and Mikel J. Koven. Logan, UT: Utah State University Press, 2007. Lotringer, Sylvère. “„Wrapping Up Germany‟: An Interview with Christo.” The German Issue (Special Issue) Semiotexte 4.2 (1982): 8-26. “Maikäfer, flieg!” Lyrikkalender. 1 May 2007. n. pag. 20 Mar 2008 < http://www.dradio.de/dlf/sendungen/lyrikkalender/616545/> Markovits, Andrei S. and Christopher Allen. “The German Conscience: „Holocaust‟ on German TV: A Special Report.” Jewish Frontier 46 (1979): 13-17. Markovits, Andrei S. and Simon Reich. “The Contemporary Power of Memory: The Dilemmas for Germany in Foreign Policy.” The Postwar Transformation of Germany: Democracy, Prosperity, and Nationhood. Eds. John S. Brady et al. Ann Arbor: University of Michigan Press, 1999. 439-472. Märthesheimer, Peter and Ivo Frenzel. Im Kreuzfeuer, der Fernsehfilm Holocaust: Eine Nation ist betroffen. Frankfurt am Main: Fischer Taschenbuch Verlag, 1979. Mayne, Judith. “Female Narration, Women‟s Cinema: Helke Sander‟s The All-Round Reduced Personality – REDUPERS.” New German Critique 24-24 (1981-1982): 155-171. Mendelson, Michael. “Forever Acting Alone: The Absence of Female Collaboration in Grimms‟ Fairy Tales.” Children’s Literature in Education 28.3 (1997): 111-125. McCormick, Richard W. “Confronting German History: Melodrama, Distantiation, and Women‟s Discourse in Germany Pale Mother.” Gender and German Cinema 2 vols. Ed. Sandra Frieden et al. Providence, RI: Berg, 1993. 185-206. 167
---. “Gender, Film, and German History: Filmmaking by German Woman Directors from Weimar to Present.” Facing Fascism and Confronting the Past: German Women Writers to Present. Eds. Elke P. Frederiksen and Martha Kaarsberg Wallach. Albany NY: State University of New York Press, 2000. 245-267. ---. Politics of the Self: Feminism and the Postmodern in West German Literature and Film. Princeton, NJ: Princeton University Press, 1991. Metz, Christian. “Story/Discourse: Notes on Two Kinds of Voyeurism.” Movies and Methods. Volume II: An Anthology. Berkeley: University of California Press, 1985. Mitscherlich, Alexander and Margarete Mitscherlich. The Inability to Mourn: Principles of Collective Behaviour. Trans. Robert Jay Lifton. New York: Grove Press, 1975. Möhrmann, Renate. “Gespräch mit Sanders-Brahms.” Die Frau mit der Kamera: Filmemacherinnen in der Bundesrepublik Deutschland. Situationen, Perspektiven: Zehn exemplarische Lebensläufe. Munich: Hanser, 1980. ---. “Mother Figures in New German Women‟s Film.” Women in German Yearbook 11 (1995): 66-80. Morewedge, Rosmarie Thee. “„The Robber Bridegroom‟ in Helma Sanders-Brahms‟s Film Deutschland, bleiche Mutter: Erzähltes Märchen und erlebtes Greuelmärchen.” Triangulated Visions: Women in Recent German Cinema. Eds. Ingeborg Majer O‟Sickey and Ingeborg von Zadow. Albany: State University of New York Press, 1998. 231-239. Münzberg, Olav. “Schaudern vor der bleichen Mutter: Eine sozialpsychologische Analyse der Kritiken zum Film von Helma Sanders-Brahms.” Medium 10.7 (1980): 34-37. Mushaben, Joyce Marie. “Memory and the Holocaust: Processing the Past through a Gendered Lens.” History of the Human Sciences 17.2-3 (2004): 147-185. Naughton, Leonie. “Germany, Pale Mother: Screen Memories of Nazism.” 20 Mar 2009 Ofer, Dalia and Lenore Weitzman. Women in the Holocaust. New Haven, CT: Yale University Press, 1998. Oliner, Samuel P. and Pearl M. Oliner. The Altruistic Personality: Rescuers of the Jews in Nazi Europe. New York: Free Press, 1988. Osnes, Beth and Sam Gill. Acting: An International Encyclopedia. Santa Barbara, CA: 168
Page 1 and 2:
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
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traditional gender roles and emphas
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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 and 172: ---. Brecht on Theater. Ed. and Tra
Page 173: Herbst, Philip. Wimmin, Wimps and W
Page 177: Sander, Helke and Barbara Johr. Eds
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