'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
'Murderer's House' - University of Victoria
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2.2 Birth and Rape:<br />
Two Scenes Emphasizing a Woman’s Gendered Experience <strong>of</strong> War<br />
While standard historical accounts <strong>of</strong> the “Third Reich” and the Second World<br />
War have tended to focus on important battles and concepts <strong>of</strong> victory and defeat,<br />
Sanders-Brahms‟ film Deutschland, bleiche Mutter was one <strong>of</strong> the earliest West German<br />
films to recount a woman‟s personal experience <strong>of</strong> these historical periods. 30 Sanders-<br />
Brahms includes in her film several scenes depicting a woman‟s gendered experience <strong>of</strong><br />
war. Two scenes that are <strong>of</strong> central importance in representing this individual female<br />
experience are the birth scene and the rape scene. In the first sequence, Lene gives birth<br />
to her daughter, Anna, during an Allied bombing raid. In the second, Lene is raped by<br />
two American service men in an abandoned building while her daughter looks on. A<br />
close reading <strong>of</strong> these scenes will show how Sanders-Brahms uses such cinematic<br />
techniques as female voice-over and the insertion <strong>of</strong> documentary footage into her<br />
fictional narrative in order to juxtapose the generally accepted public collective memory<br />
<strong>of</strong> the German war experience with a fictional re-creation <strong>of</strong> Sanders-Brahms‟ mother‟s<br />
personal experiences <strong>of</strong> this period. Through intertwining the pivotal events <strong>of</strong> Lene‟s<br />
gendered experience <strong>of</strong> war with the public documentary record <strong>of</strong> that era, Sanders-<br />
Brahms underscores the intrusion <strong>of</strong> historical forces into Lene‟s life (McCormick,<br />
Politics 191). This emphasis stresses the “false dichotomy” <strong>of</strong> the division between the<br />
private and public realms. 31<br />
30 Although Kluge‟s film Abschied von gestern features the experiences <strong>of</strong> a young East German refugee in<br />
the West Germany <strong>of</strong> the 1960s, the film does not directly depict her experiences <strong>of</strong> the war or the<br />
immediate post-war era, and only refers in passing to her Jewish heritage.<br />
31 Judith Mayne has written, “Feminist theorists have always stressed that the division between the realms<br />
<strong>of</strong> public and private is a false dichotomy. Traditionally and historically, women‟s sphere has been the<br />
private, the realm <strong>of</strong> family, home, and personal relations. And men‟s sphere has been the public sphere <strong>of</strong><br />
45