'Murderer's House' - University of Victoria

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she had been raped, she would have contravened the taboos of her society by publicly protesting the violation. 87
3.4 “Der Räuberbräutigam,” Postmemory, and German History While the previous section summarizes “Der Räuberbräutigam,” and discusses similarities and differences between the tale and the filmic narrative, this section discusses the tale as a narrative locus for the crimes of the Holocaust. The narration of “Der Räuberbräutigam” is one of the most haunting and compelling sequences of Deutschland, bleiche Mutter. It is remarkable and uncanny that this particular Grimms‟ fairy tale, recorded over a century before Hitler‟s ascension to power, appears, in retrospect, to symbolically foreshadow the history of Germany under Nazism and alludes to “the house of murderers” which Germany was to become (Naughton n. pag.). Sanders-Brahms corroborates this idea that the fairy tale recalls events in German history. While she calls the fairy tale “dies verrückte Ungetüm mitten im Film,” she also states that “das Märchen leistet eine Menge – es beschreibt ziemlich präzise Lenes Geschichte und die deutsche Geschichte in einer sehr durchsichtigen Metapher” (Sanders-Brahms, Film-Erzählung 116). 64 But how does the fairy tale act as a narrative locus in which to depict the horrors of the National Socialist genocide of German Jews and other victims? The Nazis‟ program of extermination and terror is depicted in this segment of the film through the concurrent presentation of narrative events in the fairy tale and certain images that have come to represent the Holocaust in public consciousness. As Lene and Anna wander through the German countryside, they come upon an abandoned factory with a tall 64 While Sanders-Brahms calls the fairy tale “the mad monstrosity in the middle of the film” she also claims that “the fairy tale accomplishes a lot – it describes quite precisely Lene‟s story and German history in a very transparent metaphor” (Sanders-Brahms, Film-Erzählung 116). 88
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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
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1.4 Deutschland, bleiche Mutter as
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story must be hidden as much as pos
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Chapter 2: New Subjectivity and Wes
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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
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Page 63 and 64: emotional connection between mother
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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 and 78: Beginning with the so-called recons
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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
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Page 97 and 98: with its ironic “Arbeit macht fre
Page 99 and 100: Further, the absence or presence at
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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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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
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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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