'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
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ealistic and avant-garde and that would let audiences, in his words “feel and think”<br />
(Fassbinder 21-22). Deutschland, bleiche Mutter could also be classified as a Brechtian<br />
melodrama. In her presentation <strong>of</strong> her mother‟s story <strong>of</strong> love and suffering, Sanders-<br />
Brahms uses a variety <strong>of</strong> techniques to distance the audience from unhindered<br />
identification with the characters (McCormick, Politics, 196-197). As will be further<br />
explored in Chapters 2 and 3, Sanders-Brahms foregrounds her role in constructing the<br />
film and diminishes viewer identification with Lene‟s story through various alienation<br />
devices including an authorial female voice-over, the intercutting <strong>of</strong> newsreel footage<br />
with enacted scenes, the opening Brecht poem, and the fairy tale sequence. Moreover,<br />
the director uses her own voice in the voice-over and has her own daughter play a role in<br />
the film to develop the theme <strong>of</strong> interconnectedness between the past and present at the<br />
personal level. While the Brecht poem is used to illustrate the continuity between past<br />
and present at the national level, the director intersplices newsreel footage with enacted<br />
scenes to suggest that individual history and national history are inseparable. Thus<br />
Sanders-Brahms utilizes Brechtian alienation devices to similar ends as Alexander Kluge<br />
does in his film Abschied von gestern.<br />
Sanders-Brahms‟ Deutschland, bleiche Mutter can be seen as <strong>of</strong>fering a counter-<br />
history to the male-centered images <strong>of</strong> war <strong>of</strong> the Kriegsfilme <strong>of</strong> the 1950s. The film can<br />
also be perceived as a product <strong>of</strong> New German Cinema in that it combines realistic<br />
melodrama with Brechtian alienation in the style <strong>of</strong> Fassbinder. The following section<br />
will contextualize Sanders-Brahms‟ film in relation to two other trends in the West<br />
German cultural scene <strong>of</strong> the 1970s.<br />
33