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Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Mit Hut, Korsett und Bombe – Die britischen Suffragetten im Spiegel von TV- und Kinoproduktionen des 21. Jahrhunderts“ verfasst von / submitted by Eva Maria Rathensteiner, BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2018 / Vienna 2018 Studienkennzahl lt. Studienblatt / A 066 803 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Geschichte degree programme as it appears on the student record sheet: Betreut von / Supervisor: ao. Univ.-Prof. Mag. Dr. Johanna Gehmacher Inhaltsverzeichnis 1. Einleitung................................................................................................................................. 1 1.1. Forschungslage und Quellen .............................................................................................. 2 1.2. Whitewashing in der Geschichtsschreibung ....................................................................... 5 1.3. Anliegen der Arbeit ............................................................................................................ 5 1.4. Film- und Serienanalyse ..................................................................................................... 8 1.5. Aufbau der Arbeit ............................................................................................................. 11 2. Historische Perspektiven auf die Frauenwahlrechtsbewegung in Großbritannien ................ 14 2.1. Die Anfänge der Frauenstimmrechtsbewegung ............................................................... 14 2.2. Die National Union of Women’s Suffrage Societies (NUWSS) ...................................... 15 2.3. Die Pankhursts bauen die WSPU auf ............................................................................... 16 2.4. Provokationen folgen erste Verhaftungen ........................................................................ 17 2.5. Elitebewegung? ................................................................................................................ 18 2.6. Neue Methoden und Polizeigewalt ................................................................................... 18 2.7. Die Trikolore der Suffragetten ......................................................................................... 20 2.8. Scherben bringen Aufmerksamkeit .................................................................................. 21 2.9. Der Gerichtssaal als Bühne ............................................................................................... 22 2.10. Hungerstreik und Zwangsernährung .............................................................................. 22 2.11. Waffenstillstand vor dem Black Friday .......................................................................... 24 2.12. Verschärfung der Mittel .................................................................................................. 26 2.13. Kritik an der Gewaltbereitschaft von allen Seiten .......................................................... 28 2.14. Schärfere Gesetze als Antwort der Regierung ................................................................ 29 2.15. Eine neue Phase der Militanz ......................................................................................... 30 2.16. Kalkuliertes Märtyrertum? ............................................................................................. 31 2.17. Der Kampf um internationale Medienaufmerksamkeit .................................................. 32 2.18. Die WSPU wird patriotisch ............................................................................................ 34 3. Anachronie oder Die Suffragetten als Marke im Spielfilm In guten Händen ....................... 35 3.1. Hinter den Kulissen von In guten Händen........................................................................ 35 3.2. Bezugsrealität im Fokus ................................................................................................... 37 3.2.1. Hysterie als Modekrankheit ......................................................................................... 37 3.2.2. Ein Hauch von Exotik und Fortschritt ......................................................................... 38 3.3. Ein Mann zwischen zwei Frauen ...................................................................................... 39 3.4. Der Engel des Hauses – Emily Dalrymple ....................................................................... 41 3.5. Eine Suffragette im Geiste – Charlotte Dalrymple ........................................................... 43 3.6. Heteroimago einer emanzipatorischen Frau ..................................................................... 48 3.7. In guten Händen anhand der vorgestellten Filmtests ........................................................ 52 3.8. Die Folie der Suffragette .................................................................................................. 52 4. Gezähmte Suffragette in der komplexen Serie Parade’s End ................................................ 54 4.1. Hinter dem Produkt Parade’s End – Der letzte Gentleman .............................................. 54 4.2. Zwischen Historie und Fiktion – Topoi der Suffragetten-Bewegung in Parade’s End .... 56 4.3.Valentine Wannop – das Gesicht der Suffragetten in Parade’s End ................................. 65 4.4. Suffragetten im intradiegetischen Diskurs ....................................................................... 70 4.5. Bilanz der Figuren zum Frauenwahlrecht in Parade’s End .............................................. 74 4.6. Parade’s End und die Performance anhand der Filmtests ................................................ 75 4.7. Unsuffragette-y Miss Wannop? ........................................................................................ 76 5. Fiktive Geschichtestunde rund um die Suffragetten-Bewegung in Suffragette ................... 78 5.1. Bedingungsrealität – Produktionskontext und Genre im Fokus ....................................... 78 5.1.1. Frauenpower vor und hinter der Kamera ..................................................................... 78 5.1.2. Biopic, Period Drama oder Geschichtsthriller? ........................................................... 79 5.2. Bezugsrealität Eheleben und Beruf im frühen 20. Jahrhundert ........................................ 80 5. 3. Die sozial-rechtliche Stellung der Frau als Triebfeder für den Kampf ........................... 81 5. 4. Wie die WSPU Frauen zu Suffragetten machte – Imagination der Rekrutierung ........... 84 5.5. Taten statt Worte .............................................................................................................. 90 5.6. Einschüchterungstaktik der Obrigkeit ............................................................................ 103 5.7. Der Umgang mit Militanz und Gewalt von Frauen ........................................................ 106 5.8. Suffragette im Spiegel der Filmtests .............................................................................. 108 5.9. Militanz als moralische Obligation ................................................................................. 108 6. Schlussbetrachtung .............................................................................................................. 112 Literaturverzeichnis ................................................................................................................. 121 Abstract .................................................................................................................................... 129 1. Einleitung „Die Frauen wurden mit der Faust zu Boden geschlagen, an die Geländer und Mauern gedrängt, an beiden Armen gehalten, von der Polizei beschimpft, gepackt und wie Bälle in die teils freund- liche, teils feindliche Menge zurückgeworfen.“ So schildert die deutsche Frauenrechtlerin Käthe Schirmacher, Zeitgenossin der Suffragetten, die Auseinandersetzung zwischen den Suffragetten und der Polizei am Black Friday 1910. Bilder wie dieses prägen bis heute das historische Gedächt- nis über den Wahlrechtskampf der britischen Frauen und finden in den letzten zwei Jahrzehnten verstärkt Eingang in Film und Fernsehen. Im Jahr 1903 gründeten Emmeline Pankhurst und ihre älteste Tochter Christabel mit einigen gleichgesinnten Mitstreiterinnen die britische Women’s Social and Political Union (WSPU), den militanten Flügel der britischen Frauenwahlrechtsbewegung. Die WSPU gilt als eine der auf- sehenerregendsten frühen feministischen Bewegungen in Europa, deren oberstes Ziel die Erlan- gung des Frauenstimmrechts in England war und die für Schlagzeilen weit über Großbritannien hinaus sorgte. Ihre Mitglieder wurden als „Suffragetten“ – abgeleitet von ‚suffrage‘, dem englischen Ausdruck für Wahlrecht- bezeichnet, ein Begriff, der 1906 zum ersten Mal in einem Artikel des Daily Mail auftaucht. Anfangs als Spottname gedacht, wurde der Titel ‚Suffragette‘ von den Frauen der WSPU bald selbst stolz benutzt und wird bis heute im allgemeinen Sprachgebrauch als Bezeich- nung für radikale Frauenrechtlerinnen verwendet.1 Der ähnliche Ausdruck ‚Suffragisten‘ steht für die AktivistInnen der National Union of Women’s Suffrage Societies (NUWSS), des älteren, nichtmilitanten Flügels der britischen Frauenbewegung. Die Suffragetten griffen zu neuen, spektakulären
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