'Murderer's House' - University of Victoria

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Die Gewaltakte kleiner, festgeschlossener Terroristengruppen in der Bundesrepublik und die Gegenwelle der Sympathisantenjagd haben lediglich die Funktion eines Auslösers, der latente Bruchstellen mit einem Ruck ins Offene bringt und für alle Welt sichtbar macht. Die Gründe für die Brüchigkeit der westdeutschen Gesellschaft gehen weiter zürück. (734) 12 Moreover, Elias suggests that the crimes of Germany under Hitler differed qualitatively from the crimes of other nations by their sheer senselessness, a feature he claims also characterizes the terrorist acts of Autumn 1977 (744). Building on Elias‟ argument, Kaes maintains that the senselessness of the RAF terrorist acts stemmed from the collective trauma the post-war generation experienced when it found out the truth about the atrocities committed by its parents‟ generation. Kaes writes: It was only a matter of time before [the post-war generation‟s] repressed trauma would coalesce with [its] frustration about the “petrified conditions” of the Federal Republic. The memory of the Nazi reign of terror had been excluded from public discussion during the entire reconstruction phase of German postwar history; Germans had thus been denied the chance to work through the past and come to terms with it. This omission now seemed to be taking its revenge in the terrorism of the younger generation. (25) Alexander Kluge, writing in 1979, also associated the RAF violence of 1977 and the West German government‟s ensuing suppression of civil liberties with the Hitler regime. Kluge proposed that the events of 1977 jolted many people out of their historical amnesia: Die tödliche Katastrophe hat bei vielen Menschen eine Durchbrechung der Erinnerungslosigkeit ausgelöst. Die Ereignisse hatten unmittelbar nicht zuviel mit Krieg zu tun, aber es wird »1945«, »Krieg« assoziiert. Es ist kein Zufall, daß eine Bewegung in den Gefühlen entstanden ist, die nach Deutschland und nach der Geschichte fragt, die in dieser Form der Erscheinung tritt. Der verdrängte Schock bricht hier an einer Stelle heraus, der für eine wirkliche Verarbeitung des bisher 12 “The violent acts of small, hermitic groups of terrorists in the Federal Republic and the reaction of declaring open season on sympathizers have only the function of a trigger: they suddenly brought to light the latent fissures that exist in West German society and make them visible to the whole world. The reasons for these fissures go further back” (Elias 734). 19
Verdrängten eigentlich gar nicht geeignet ist oder neue Verzerrungen heraufbeschwört. (Die Patriotin 28) 13 The film Deutschland im Herbst resulted from the concerns of a group of New German filmmakers with Autumn 1977 and its relations to earlier periods of German history. As Kaes proposes: [An] impetus for Fassbinder‟s [and other New German filmmakers‟] turning to history was the crisis of Autumn 1977, which Fassbinder‟s generation experienced as a watershed in the political development and self-understanding of the Federal Republic. (79) In October 1977, nine directors of the New German Cinema, including Kluge, Fassbinder, Schlöndorff, and Reitz, joined forces to produce a collective film about Germany in 1977 which would serve as both a chronicle and a commentary. This collaborative effort was intended to document immediate reactions to the events of Autumn 1977 and to reflect the anxieties of the period in short fictional scenes. The film was also meant to be a method of opposing the West German government‟s news blackout and an effort to counter the official version of events with an unofficial version. Deutschland im Herbst seeks to resist Germans‟ collective amnesia of recent German history by relating images of the terrorist present of 1977 to the Nazi past (Elsaesser, New German Cinema 260, Kaes 26). The film is framed with documentary footage of two public ceremonies of mourning, the state funeral and burial of Hanns Martin Schleyer and the controversial internment in a Stuttgart cemetery of Andreas Baader, Gundrun Ensslin, and Jan-Carl Raspe. In between, there are images of violence 13 “The fatal catastrophe succeeded in cutting through the amnesia of many. The events did not have much to do with war directly, but „1945‟ and „war‟ were associated with them. It is no coincidence that we have an emotional movement that is posing questions about Germany and about the history that takes the form it has. The repressed shock breaks out in terrorism, a point that is not suited to genuinely coming to terms with previously repressed material; it may even produce new distortions” (Kluge, Die Patriotin 28). 20
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: political events that took place in
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
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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
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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
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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
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---. “Gender, Film, and German Hi
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Sander, Helke and Barbara Johr. Eds
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'Murderer's House' - University of Victoria

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