LEADER 03907nam 2200685 a 450 001 9910450115203321 005 20210113162339.0 010 $a0-292-79972-1 024 7 $a10.7560/746961 035 $a(CKB)1000000000002916 035 $a(OCoLC)300768018 035 $a(CaPaEBR)ebrary10015727 035 $a(SSID)ssj0000154131 035 $a(PQKBManifestationID)11161402 035 $a(PQKBTitleCode)TC0000154131 035 $a(PQKBWorkID)10407065 035 $a(PQKB)10582964 035 $a(MiAaPQ)EBC3442966 035 $a(DE-B1597)586986 035 $a(DE-B1597)9780292799721 035 $a(EXLCZ)991000000000002916 100 $a20150424d1998|||| s|| | 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aFeminism, Film, Fascism : Women's Autobiographical Film in Postwar Germany$b[electronic resource] 210 $aAustin, TX, USA$cUniversity of Texas Press$d19980401 210 $cUniversity of Texas Press 215 $a1 online resource (208 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-74696-2 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction: Seeing Through he "Postwar" Years -- $t1 Kinder, Kirche, Kino: The Optical Politics of Marianne Rosenbaum's Peppermint Peace -- $t2 The mother-daughter plot in history: Helma Sander-Brahm's Germany, pale mother -- $t3 Self-consuming Images: The Idenity Politics of Jutta Brückner;s Hunger Years -- $t4 Rertieving History: Margarethe von Tro -- $t5 The Autoethnographic aesthetic of Jeanine Meerapfel's Malou -- $tEpilogue -- $tNotes -- $tFilmography -- $tBibliography -- $tIndex 330 $aGerman 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. 606 $aPERFORMING ARTS$2bisac 606 $aFilm & Video / General$2bisac 606 $aMotion pictures$xHistory$zGermany 606 $aWomen in motion pictures$xPsychological aspects$zGermany 606 $aWomen motion picture producers and directors$zGermany 606 $aMotion pictures 606 $aGuilt 606 $aMusic, Dance, Drama & Film$2HILCC 606 $aFilm$2HILCC 615 7$aPERFORMING ARTS 615 7$aFilm & Video / General 615 0$aMotion pictures$xHistory 615 0$aWomen in motion pictures$xPsychological aspects 615 0$aWomen motion picture producers and directors 615 0$aMotion pictures 615 0$aGuilt 615 7$aMusic, Dance, Drama & Film 615 7$aFilm 676 $a791.43/0943 700 $aLinville$b Susan E$01037486 801 0$bPQKB 906 $aBOOK 912 $a9910450115203321 996 $aFeminism, Film, Fascism : Women's Autobiographical Film in Postwar Germany$92458502 997 $aUNINA