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Storytelling and Survival in the 'Murderer's House'

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Storytelling and Survival in the 'Murderer's House' Storytelling and Survival in the “Murderer’s House”: Gender, Voice(lessness) and Memory in Helma Sanders-Brahms’ Deutschland, bleiche Mutter by Rebecca Reed B.A., University of Victoria, 2003 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS in the Department of Germanic and Slavic Studies © Rebecca Reed, 2009 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Storytelling and Survival in the “Murderer’s House”: Gender, Voice(lessness) and Memory in Helma Sanders-Brahms’ Deutschland, bleiche Mutter by Rebecca Reed B.A., University of Victoria, 2003 Supervisory Committee Dr. Helga Thorson, Supervisor (Department of Germanic and Slavic Studies) Dr. Charlotte Schallié, Departmental Member (Department of Germanic and Slavic Studies) Dr. Perry Biddiscombe, Outside Member (Department of History) iii Supervisory Committee Dr. Helga Thorson, Supervisor (Department of Germanic and Slavic Studies) Dr. Charlotte Schallié, Departmental Member (Department of Germanic and Slavic Studies) Dr. Perry Biddiscombe, Outside Member (Department of History) ABSTRACT Helma Sanders-Brahms’ film Deutschland, bleiche Mutter is an important contribution to (West) German cinema and to the discourse of Vergangenheitsbewältigung or “the struggle to come to terms with the Nazi past” and arguably the first film of New German Cinema to take as its central plot a German woman’s gendered experiences of the Second World War and its aftermath. In her film, Deutschland, bleiche Mutter, Helma Sanders-Brahms uses a variety of narrative and cinematic techniques to give voice to the frequently neglected history of non- Jewish German women’s war and post-war experiences. iv Table of Contents Supervisory Page ii Abstract iii Table of Contents iv Acknowledgments vi Dedication vii Introduction 1 Chapter 1: A (De)Politicized West German Cinema: The Heimatfilm and the Kriegsfilm 9 1.1 The Oberhausen Manifesto and New German Cinema during the 1960s 12 1.2 The German Autumn and the “Return of History as Film” 17 1.3 Images of History: The West German Reception of Holocaust 23 1.4 Deutschland, bleiche Mutter as Counter-Fiction and Brechtian Melodrama 30 Chapter 2: New Subjectivity and West German Women’s Autobiographical Films 34 2.1 Women’s Missing Voices: Herstory in Helma Sanders-Brahms’ Deutschland, bleiche Mutter 39 2.2 Birth and Rape: Two Scenes Emphasizing a Woman’s Gendered Experience of War 45 2.3 The Role of Documentary Footage and Radio in Deutschland, bleiche Mutter 59 2.4 Summarizing Remarks 71 Chapter 3: Storytelling and Memory in Deutschland, bleiche Mutter: Storytelling as a Female Art 73 v 3.1 Intergenerational Dialogue in Deutschland, bleiche Mutter 76 3.2 Retelling a Grimm Tale: Voice and Memory in “Der Räuberbräutigam” 82 3.3 “Der Räuberbräutigam”: The Story Within 83 3.4 “Der Räuberbräutigam,” Postmemory, and German History 88 Chapter 4: Three Images of Woman in “Der Räuberbräutigam” and Lene’s Personal History 96 4.1 Lene and the Miller’s Daughter 97 4.2 Lene and the Old Woman 107 4.3 Lene and the Other Bride 117 4.4 Summarizing Remarks 122 Chapter 5: Conclusion: Mother’s Voicelessness / Daughter’s Voice 124 5.1 “Here is the Finger with the Ring”: The Importance of Physical Evidence 129 Appendix: Personal Interview with Helma Sanders-Brahms 135 Works Cited 163 vi Acknowledgments I would like to thank the University of Victoria for their generous support throughout my Master’s degree in the form of a UVic Fellowship. I would also like to extend my gratitude to the Social Science and Humanities Research Council of Canada for granting me a SSHRC Master’s Scholarship. I would like to acknowledge the support I received from the staff and students of the Germanic and Slavic Studies Department. I would like to thank Dr. Peter Gölz for inspiring me to write this thesis on Deutschland, bleiche Mutter and Dr. Angelika Arend for helping me find der rote Faden or the unifying theme of this study. I am grateful to Dr. Charlotte Schallié for her encouragement and for reading my thesis in record time. I would also like to acknowledge my fellow graduate students Angie Morris, Colleen Allen, and Veronica Bhandar for their friendship throughout this degree. Most importantly, I would like to extend my deepest gratitude to Dr. Helga Thorson for her ongoing support and encouragement throughout this project and for helping me find my own voice. I am very fortunate to have had such an inspiring, patient, and caring supervisor. Lastly, I would like to thank Helma Sanders-Brahms for patiently answering my many questions about her film during our interview in Berlin and for sharing her wisdom about art and life. vii I would like to dedicate this thesis to my family for without their support and encouragement I would never have finished it. Thank you. Specifically, I would like to dedicate this study to my grandmother, Mary Morgan Reed (1915-2009) who, like Lene, survived hardships and war with a similar strength of character. I would also like to dedicate this thesis to my niece Sophia Audrey Dickson – may you grow up to be a resilient woman who can always find her voice. Introduction In February of 1980, Helma Sanders-Brahms‟ film Deutschland, bleiche Mutter (Germany, Pale Mother) premiered at the 30th Berlin International Film Festival. In this (auto)biographical film, Sanders-Brahms recounts the story of her mother‟s gendered experiences of the “Third Reich,”1 the Second World War, and the post-war years of reconstruction, while at the same time depicting her own early childhood memories of those years. While exploring her own subjectivity, Sanders-Brahms traces the intersection of her mother‟s private dreams and the politics of the “Third Reich.” In an interview with the director, I asked her which personal, political, or artistic factors inspired her to make a film about her mother‟s life during the Hitler and Adenauer eras. She replied that when she was pregnant with her daughter in 1977, she felt emotionally closer to her mother and began to reflect on “how she might have lived [through] this experience, having a child, in the middle of the war” (Reed 135). Sanders-Brahms also revealed that she wanted to create a film that thematized an aspect of Second World War history that had often been ignored in traditional historical narratives: a woman‟s experience. She states: I felt that there were so many films about the male vision of war and Nazism, that it would be really something new and special to make a film about the female vision of these things like war and fascism…another idea that I had was [to explore] the relationship of mother and child under these circumstances, [which] is very special and had not yet really been exploited in cinema so far. (Reed 136) 1 Throughout this thesis I place quotation marks around the problematic term “Third Reich” to distance myself from the political and ideological overtones and associations of this expression that I recognize but do not share. 2 Sanders-Brahms describes a phenomenon in (West) German cinema since 1945 in which the majority of films set during the years of conflict and the post-war period privilege male accounts of war and reconstruction in that they focus on men‟s stories, which are told from a male point of view. This tendency to „overlook‟ female voices in (West) German films set during the Hitler and Adenauer eras can also be extended to the historical research focusing on this time period. In 1995 film scholar Renate Möhrmann wrote: “[It] never ceases to amaze me [that] the experiences of mothers from this period are almost never documented; they are virtually absent as the subject of serious cultural debate. History was always written from the perspective of men” (“Mother Figures,” 68- 69). While thousands of historical books and academic papers have been published on the “Third Reich,” the Holocaust, and the Economic Miracle since 1945, there has been relatively little research until recently that treats issues of gender or issues particular to women (Reading 34, von Saldern 142). Since the late 1970s, there has been a small but growing body of gendered historical accounts of the war, the Holocaust, and the post-war era.2 Deutschland, bleiche Mutter is an important contribution to (West) German film and to the discourse of Vergangenheitsbewältigung or “the struggle to come to terms with the Nazi past” in that it was, in my opinion, the first film of New German Cinema to take as its central plot a German woman‟s gendered experiences of the Second World War and 2 One of the earliest studies addressing gender issues was Marion Kaplan‟s The Jewish Feminist Movement in Germany: The Campaigns of the Jüdischer Frauenbund, 1904-1938 (1979). Soon after this was followed by Vera Laska‟s Women in the Resistance and the Holocaust; The Voices of Eyewitnesses (1983) and Bridenthal et al.‟s When Biology Became Destiny: Women in Weimar and Nazi Germany (1984). A key work on German women‟s roles in the “Third Reich” which also includes a chapter on Jewish women as victims and survivors is Claudia Koonz‟s Mothers in the Fatherland: Women, the Family, and Nazi Politics (1987). There was also Carol Rittner and John K. Roth‟s Different Voices: Women and the Holocaust (1993). More recent gendered historical studies include Dalia Ofer and Lenore Weitzman‟s Women in the Holocaust (1998), Judith Baumels‟ Double Jeopardy: Gender and the Holocaust (1998), and Anna Reading‟s The Social Inheritance of the Holocaust: Gender, Culture, and Memory (2002).
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