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Record Nr. |
UNINA9910777359903321 |
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Autore |
Linville Susan E |
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Titolo |
Feminism, Film, Fascism : Women's Autobiographical Film in Postwar Germany [[electronic resource]] |
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Pubbl/distr/stampa |
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Austin, TX, USA, : University of Texas Press, 19980401 |
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University of Texas Press |
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ISBN |
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Descrizione fisica |
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1 online resource (208 p.) |
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Disciplina |
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Soggetti |
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Motion pictures - History - Germany |
Women in motion pictures - Psychological aspects - Germany |
Women motion picture producers and directors - Germany |
Motion pictures |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di contenuto |
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Front matter -- Contents -- Acknowledgments -- Introduction: Seeing Through he "Postwar" Years -- 1 Kinder, Kirche, Kino: The Optical Politics of Marianne Rosenbaum's Peppermint Peace -- 2 The mother-daughter plot in history: Helma Sander-Brahm's Germany, pale mother -- 3 Self-consuming Images: The Identity Politics of Jutta Brückner;s Hunger Years -- 4 Rertieving History: Margarethe von Tro -- 5 The Autoethnographic aesthetic of Jeanine Meerapfel's Malou -- Epilogue -- Notes -- Filmography -- Bibliography -- Index |
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Sommario/riassunto |
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German society's inability and/or refusal to come to terms with its Nazi past has been analyzed in many cultural works, including the well-known books Society without the Father and The Inability to Mourn. In this pathfinding study, Susan Linville challenges the accepted wisdom of these books by focusing on a cultural realm in which mourning for the Nazi past and opposing the patriarchal and authoritarian nature of postwar German culture are central concerns—namely, women's feminist auto/biographical films of the 1970s and 1980s. After a broad survey of feminist theory, Linville analyzes five important films that reflect back on the Third Reich through the experiences of women of |
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different ages—Marianne Rosenbaum's Peppermint Peace, Helma Sanders-Brahms's Germany, Pale Mother, Jutta Brückner's Hunger Years, Margarethe von Trotta's Marianne and Juliane, and Jeanine Meerapfel's Malou. By juxtaposing these films with the accepted theories on German culture, Linville offers a fresh appraisal not only of the films' importance but especially of their challenge to misogynist interpretations of the German failure to grieve for the horrors of its Nazi past. |
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