'Murderer's House' - University of Victoria

More documents

Recommendations

Info

2.4 Summarizing Remarks In this chapter I have discussed how on the West German cultural scene a Tendenzwende or change of direction took place from the 1960s to the 1970s. While many authors and filmmakers of the 1960s attempted to objectively document political and social realities, writers and directors of the 1970s tended to value authorial subjectivity and created works based on personal experience. In the late 1970s many artists of the post-war generation began to turn their attention towards history, while maintaining a concern for the self and its psychological development. This contributed to a wave of Generationenliteratur. Written by authors born in the 1930s and 1940s, these books dealt with the authors‟ relationships with their parents and their parents‟ involvement in National Socialism. While these works often focused on the authors‟ relationship with their fathers, some works written by women in the late 1970s and early 1980s began to examine the mother-daughter relationship. At this time, female West German filmmakers began making films that combined autobiography and feminist perspectives in the larger examination of historical issues. Specifically, they explored their identities as women by telling the stories of their mothers‟ experiences during National Socialism and the post-war period. Deutschland, bleiche Mutter is an important project as it emphasizes an aspect of German history that was often neglected: a non-Jewish German woman‟s experience of the “Third Reich” and post-war period. In this film, Sanders-Brahms fuses historical and political investigation with an intensely personal exploration of the mother-daughter 71
elationship. Through its subjective autobiographical perspective, the film is able to access the public space of German history. As Everett explains: Through the intimate subjective language of autobiography this film is exploring far wider social and political issues. Sanders-Brahms‟s quest for identity, articulated through her subjective exploration of the mother-daughter relationship, discovers in her mother‟s private experience a point of intersection between the personal, domestic space of home, and the external, political space of fascism and war. The merging of the personal and political, that is characteristic of the [autobiographical] genre, offers a path by which traditionally marginalized, voiceless women can actually enter into history, can penetrate the phallocentric power structures of the public realm. (133) As has been shown in this chapter, one of the most striking ways Sanders-Brahms merges the personal and political in her exploration of her mother‟s gendered experiences of war is to alternate archival footage with re-enacted scenes of events in her mother‟s life. The effect of these confrontations is that they historically contextualize the fiction occurring onscreen while simultaneously giving a social context to the historical events depicted. In this way, Sanders-Brahms succeeds in imbuing memory in her film with a “texture which is both social and historic” (Bommes and Wright 256). 72
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 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
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
Page 77: Beginning with the so-called recons
Page 81 and 82: a series of forty-one volumes publi
Page 83 and 84: 3.1 Intergenerational Dialogue in D
Page 85 and 86: geworden” (Brecht, Werke 253). 55
Page 87 and 88: Eure Unarmung kann ich mir nicht de
Page 89 and 90: 3.2 Retelling a Grimm Tale: Voice a
Page 91 and 92: and springs into the lap of the hid
Page 93 and 94: apes were collectively perceived as
Page 95 and 96: 3.4 “Der Räuberbräutigam,” Po
Page 97 and 98: with its ironic “Arbeit macht fre
Page 99 and 100: Further, the absence or presence at
Page 101 and 102: can imagine the chimney blowing out
Page 103 and 104: Chapter 4: Three Images of Woman in
Page 105 and 106: Moreover she demonstrates insight a
Page 107 and 108: victimization of another through he
Page 109 and 110: in an effort to help, Lene quickly
Page 111 and 112: Liebe, Ehe, ein Kind” (Sanders-Br
Page 113 and 114: knowingly or unknowingly, to make p
Page 115 and 116: passively complicit in the crimes o
Page 117 and 118: Contrastingly, in the middle and la
Page 119 and 120: traditional gender roles and emphas
Page 121 and 122: The old woman‟s constructive fema
Page 123 and 124: the severed finger at the tale‟s
Page 125 and 126: and calm camera movements. In contr
Page 127 and 128: The dentist and Hans completely ove
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
Page 135 and 136:
daughter in what becomes an interge
Page 137 and 138:
authentic documentary footage of th
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 and 176:
---. “Gender, Film, and German Hi
Page 177:
Sander, Helke and Barbara Johr. Eds
show all

'Murderer's House' - University of Victoria

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?