'Murderer's House' - University of Victoria

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the autobiographical project of her film (McCormick, Politics 197). Through having her daughter play a role in the film and by dedicating the film to her, Sanders-Brahms continues an intergenerational dialogue in which she communicates to her child both her personal and historical inheritance. In this way, Sanders-Brahms places value on both her mother‟s and her own experience of fascism and war and tries to ensure that through her film the lessons of their experience will be conveyed to future generations of women. 81
3.2 Retelling a Grimm Tale: Voice and Memory in “Der Räuberbräutigam” Along with her use of the Brecht poem and the female voice-over as distanciation techniques in her film, Sanders-Brahms has stated that she intentionally used the retelling of the Grimm fairy tale “Der Räuberbräutigam” (“The Robber Bridegroom”) as a Verfremdungseffekt, or alienation effect. 58 As a story within a story, the fairy tale interrupts the narrative of Lene and Anna‟s wartime experiences. Concurrently, the presence and the forces of war intrude on Lene‟s retelling of the tale, for example, when mother and daughter see a dead soldier in the undergrowth or when Lene is raped by two American soldiers. Thus the two stories take place simultaneously, each one interjecting on the other. The interruption of the fairy tale on the main narrative is significant because the fairy tale is narrated rather than enacted. Almost word for word, Lene narrates to Anna the text of “Der Räuberbräutigam” as recorded by the Brothers Grimm in their 1819 edition of Kinder- und Hausmärchen. The telling goes on at great length, taking approximately fifteen minutes. While the viewer hears Lene recounting the fairy tale, they see mother and daughter wandering across the German countryside. Visually the principle narrative continues, whereas aurally the tale of “Der Räuberbräutigam” is heard. The events of the fairy tale comment on the visual images seen in the filmic narrative to create new layers of meaning, layers which allude to the historical events of the Holocaust. Before proceeding with an examination of the effect created through this synergy of plot events and film images, it seems appropriate to review the tale itself. 58 In an interview Sanders-Brahms said: “Außerdem setze ich das Märchen auch als ein Mittel der Verfremdung ein” (“Moreover, I included the fairy tale as an alienation effect”) (Möhrmann 156). 82
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Storytelling and Survival in the
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Supervisory Committee Dr. Helga Tho
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3.1 Intergenerational Dialogue in D
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I would like to dedicate this thesi
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Sanders-Brahms describes a phenomen
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that Sanders-Brahms uses the fairy
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early 1980s by a wave of historical
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Deutschland, bleiche Mutter. Moreov
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audience. One of the most popular g
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1.1 The Oberhausen Manifesto and Ne
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audiences. This film movement of th
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e beholden to him, for only through
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political events that took place in
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Verdrängten eigentlich gar nicht g
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(Deutschland im Herbst n. pag.). 14
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in drei Jahrzehnten Nachkriegsgesch
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impact West Germans in such a drama
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If German films are to make use of
Page 37 and 38: 1.4 Deutschland, bleiche Mutter as
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Page 41 and 42: Chapter 2: New Subjectivity and Wes
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Page 71 and 72: y war. A final interesting point of
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Page 75 and 76: Why does Lene sing the Maikäferlie
Page 77 and 78: Beginning with the so-called recons
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Page 81 and 82: a series of forty-one volumes publi
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Page 87: Eure Unarmung kann ich mir nicht de
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Page 103 and 104: Chapter 4: Three Images of Woman in
Page 105 and 106: Moreover she demonstrates insight a
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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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