'Murderer's House' - University of Victoria

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ABC-Clio, 2001. Parnass, Peggy. “Die Zärtlichkeit der Wölfinnen: Über den Film, „Deutschland, bleiche Mutter‟ von Helma Sanders-Brahms diskutierten die Regisseurin und die Hamburger Journalistin Peggy Parnass.” Tip 20 (1980): 32-43. Pflaum, Hans Günther and Hans Helmut Prinzler. Film in der Bundesrepublik Deutschland: Der neue deutsche Film von den Anfängen bis zur Gegenwart: Ein Handbuch. Bonn: Inter Nationes, 1992. Phillips, Klaus. Ed. New German Filmmakers: From Oberhausen Through the 1970s. New York: Ungar, 1984. Portelli, Alessandro. The Death of Luigi Trastulli and Other Stories. Form and Meaning in Oral History. Albany, NY: State University of New York Press, 1991. Reading, Anna. The Social Inheritance of the Holocaust. Gender, Culture and Memory. New York: Palgrave Macmillan, 2002. Reed, Rebecca. Personal Interview with Helma Sanders-Brahms. 5 March 2009. Reimer, Robert C. and Carol J. Reimer. Nazi Retro Film. Toronto: Twayne, 1992. Reitz, Edgar. Liebe zum Kino: Utopien und Gedanken zum Autorenfilm 1962-1983. Cologne: Verlag Köln 78, 1984. Rentschler, Eric. Ed. West German Filmmakers on Film: Visions and Voices. New York: Holmes & Meier, 1988. Rich, Adrienne. “When We Dead Awaken: Writing as Revision.” On Lies, Secrets, and Silence. New York: W.W. Norton, 1979. Ringelheim, Joan. “The Split between Gender and the Holocaust.” Eds. D. Ofer and L. J. Weitzman. Women in the Holocaust. New Haven, CT: Yale University Press, 1998. Rittner, Carol and John K. Roth. Different Voices: Women and the Holocaust. New York: Paragon House, 1993. Rowe, Karen E. “To Spin a Yarn: The Female Voice in Folklore and Fairy Tale.” Fairy Tales and Society: Illusion, Allusion, and Paradigm. Ed. Ruth B. Bottigheimer. Philadelphia: University of Philadelphia Press, 1986. 53-74. Rupp, Leila. Mobilizing Women for War: German and American Propaganda, 1939- 1945. Princeton, NJ: Princeton University Press, 1978. 169
Sander, Helke and Barbara Johr. Eds. BeFreier und Befreite: Kreig, Vergewaltigungen, Kinder. Munich: Kunstmann, 1992. Sanders-Brahms, Helma. Deutschland, bleiche Mutter. Film-Erzählung. Hamburg: Rowohlt, 1980. Sandford, John. The New German Cinema. Totowa, NJ: Barnes & Noble, 1980. Santner, Eric. Stranded Objects: Mourning, Memory, and Film in Postwar Germany. Ithaca, NY: Cornell University Press, 1990. Schneider, Michael. “Fathers and Son‟s, Retrospectively: The Damaged Relationship between Two Generations.” New German Critique 31 (1984): 3-51. Schulz-Rohr, Peter. “Keine Frage von rechts oder links.” Die Zeit (23 June 1978): n. pag. Seiter, Ellen E. “Women‟s History, Women‟s Melodrama.” The German Quarterly 59.4 (1986): 569-581. Smith, Sabine H. Sexual Violence in German Culture: Rereading and Rewriting the Tradition. Frankfurt am Main: Peter Lang, 1998. Stephenson, Jill. The Nazi Organization of Women. London: Croom Helm, 1981. ---. Women in Nazi Society. London: Croon Helm, 1975. von Borries, Bodo. “Forschung und Lernen an Frauengeschichte – Versuch einer Zwischenbilanz.” Frauen in der Geschichte VI. Ed. Annette Kuhn et al. Düsseldorf: Schwann, 1985. 49-89. von Saldern, Adelheid. “Victims or Perpetrators? Controversies about the Role of Women in the Nazi State.” Nazism and German Society: 1933-1945. Ed. David F. Crew. New York: Routledge, 1994. 141-165. Warner, Marina. From the Beast to the Blonde: On Fairy Tales and Their Tellers. London: Chatto and Windus, 1994. Weinberger, Gabriele. Nazi Germany and its Aftermath in Women Directors’ Autobiographical Films of the Late 1970s: In the Murderers’ House. San Francisco: Mellen Research University Press, 1992. Wigmore, Juliet. “Feminist Writing in West Germany.” After the ‘Death of Literature’: West German writing of the 1970s. Ed. Keith Bullivant. Oxford: Berg, 1989. 170
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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
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traditional gender roles and emphas
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The old woman‟s constructive fema
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the severed finger at the tale‟s
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 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 and 174: Herbst, Philip. Wimmin, Wimps and W
Page 175: ---. “Gender, Film, and German Hi
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