03597nam 2200589 a 450 991077735990332120220303022116.00-292-79972-110.7560/746961(CKB)1000000000002916(OCoLC)300768018(CaPaEBR)ebrary10015727(SSID)ssj0000154131(PQKBManifestationID)11161402(PQKBTitleCode)TC0000154131(PQKBWorkID)10407065(PQKB)10582964(MiAaPQ)EBC3442966(DE-B1597)586986(DE-B1597)9780292799721(EXLCZ)99100000000000291620150424d1998|||| k|| |engur||#||||||||txtccrFeminism, Film, Fascism : Women's Autobiographical Film in Postwar Germany[electronic resource]Austin, TX, USAUniversity of Texas Press19980401University of Texas Press1 online resource (208 p.)Bibliographic Level Mode of Issuance: Monograph0-292-74696-2 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 --IndexGerman 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 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.Motion picturesHistoryGermanyWomen in motion picturesPsychological aspectsGermanyWomen motion picture producers and directorsGermanyMotion picturesGuiltMotion picturesHistoryWomen in motion picturesPsychological aspectsWomen motion picture producers and directorsMotion picturesGuilt791.43/0943Linville Susan E1511422PQKBBOOK9910777359903321Feminism, Film, Fascism : Women's Autobiographical Film in Postwar Germany3744695UNINA