Feminism, Film, Fascism : : Women's Auto/biographical Film in Postwar Germany / / Susan E. Linville.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package Pre-2000
• VerfasserIn: Linville, Susan E.,
• Place / Publishing House: Austin : : University of Texas Press, , [2022]; ©1998
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource
• Other title: Frontmatter --; 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 Idenity 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
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780292799721; 9783110745351
• DOI: 10.7560/746961
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Susan E. Linville.

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 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.