'Murderer's House' - University of Victoria

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Storytelling and Survival in the “Murderer’s House”: Gender, Voice(lessness) and Memory in Helma Sanders-Brahms’ Deutschland, bleiche Mutter Supervisory Committee Dr. Helga Thorson, Supervisor (Department of Germanic and Slavic Studies) Dr. Charlotte Schallié, Departmental Member (Department of Germanic and Slavic Studies) Dr. Perry Biddiscombe, Outside Member (Department of History) by Rebecca Reed B.A., University of Victoria, 2003 ii
Supervisory Committee Dr. Helga Thorson, Supervisor (Department of Germanic and Slavic Studies) Dr. Charlotte Schallié, Departmental Member (Department of Germanic and Slavic Studies) Dr. Perry Biddiscombe, Outside Member (Department of History) ABSTRACT Helma Sanders-Brahms’ film Deutschland, bleiche Mutter is an important contribution to (West) German cinema and to the discourse of Vergangenheitsbewältigung or “the struggle to come to terms with the Nazi past” and arguably the first film of New German Cinema to take as its central plot a German woman’s gendered experiences of the Second World War and its aftermath. In her film, Deutschland, bleiche Mutter, Helma Sanders-Brahms uses a variety of narrative and cinematic techniques to give voice to the frequently neglected history of non- Jewish German women’s war and post-war experiences. iii
Page 1: Storytelling and Survival in the
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
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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
Page 75 and 76:
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
Page 87 and 88:
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
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and calm camera movements. In contr
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The dentist and Hans completely ove
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4.4 Summarizing Remarks Sanders-Bra
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Chapter 5: Conclusion Mother’s Vo
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forced back into the oppressive dep
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daughter in what becomes an interge
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authentic documentary footage of th
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evocation of the Holocaust through
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Brahms articulates represents an ac
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H.S.-B.: Well, one answer to this q
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H.S.-B.: There is a very small baby
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only when you forget about scientif
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R.R.: So an example of that would b
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political context of the fictional
Page 153 and 154:
was a wonderful image, like the May
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H.S.-B.: Yes, you‟re right, it‟
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R.R.: Some critics say that she is
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They just appeared during shooting.
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film represent the woman who respon
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R.R.: So, by telling your story, yo
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H.S.-B.: This happened to my mother
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irritated the critics terribly. It
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opening up, but actually, the strug
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---. Brecht on Theater. Ed. and Tra
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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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