These are the sources and citations used to research German 101: Die Ehe der Maria Braun. This bibliography was generated on Cite This For Me on
In-text: (Brockmann, 2010)
Your Bibliography: Brockmann, S. (2010). A critical history of German film. Rochester, N.Y.: Camden House.
In-text: (Elsaesser, 1989)
Your Bibliography: Elsaesser, T. (1989). New German Cinema: A History. New Brunswick NJ: Rutgers UP, p.254.
At the same time, enough mystery hovers over the ambiguous ending. The retrospective doubt it casts on Maria Sraun's motivation (whether Maria blew herself up deliberately or by accident, whether she always suspected Hennann to have plotted with Oswald, whether she needed Hennann to absent himself in order to keep her love for him strong and pure) can embolden the audience to speculate about the deeper meaning of the story, without leaving the cinema baffled or confused, proving that structurally motivated ambiguity makes a film especially productive in the spectators' minds. - 102 cinematically speaking, the world knew nothing about Gennany, nor how Germans felt about fascism, defeat and reconstruction - 103 9 It was even suggested that the film was a protest against the nuclear bomb, with the final blast meant to warn the spectator ofimpending disaster as Gennany permitted Nato nuclear weapons to be stationed on its soil.20 - 104 Fassbinder, by his own admission, was not interested in historical films, but in films about history from the perspective of the present: 'we make a particular film about a particular time, but from our point of view' .29 This meant that in his films, the past is seen across the traces which it has left in the present, fixed in the representations ofthat past, across the styles, the gestures, the images that evoke this past in and for the present. In this respect, MARIA BRAUN is a film which functions as a trigger of memories, but at one remove: not so much recalling a reality, as setting up a chain of associations, stories remembered from one's parents, pictures seen in the family album, in short, the standard version of the 1950s as present in the culture at large ofthe 1970s - 106
In-text: (Elsaesser, 1996)
Your Bibliography: Elsaesser, T. (1996). Fassbinder's Germany [electronic resource] : history, identity, subject. Amsterdam: Amsterdam University press, pp.97-111.
In-text: (Fulbrook, 2015)
Your Bibliography: Fulbrook, M. (2015). A history of Germany, 1918-2014. 4th ed. London: WILEY Blackwell, p.122.
In-text: (Gemünden, 1994)
Your Bibliography: Gemünden, G. (1994). Re-Fusing Brecht: The Cultural Politics of Fassbinder's German Hollywood. New German Critique, [online] (63), pp.54-75. Available at: https://www.jstor.org/stable/pdf/488475.pdf?refreqid=excelsior:37bf9490a971c1cfbb9b35c22189211b [Accessed 10 Mar. 2018].
20 bottom - er zentriert ... genauestens festlegt 23 middle - mit forscreitender Handlung ... zu Marias Leben 23 bottom - Diesen Kamerakreis beschriebt Fassbinder ueber stoffliche, akusitische unf optische Leitmotive. er versucht, die Vergangenheit, die Gegenwart und auch die Zukunft in eine Verbindung zu setzen. 29 - private and personal - she starts as a sex object and becomes a successful business woman
In-text: (Pott, 2002)
Your Bibliography: Pott, S. (2002). Film als Geschichtsschreibung bei Rainer Werner Fassbinder : Fassbinders Darstellung der Bundesrepublik Deutschland anhand ausgewahlter Frauenfiguren in seiner BRD-Trilogie : Die Ehe der Maria Braun (1978), Lola (1981) und Die Sehnsucht der Veronika Voss (1982). Frankfurt a.M: Peter Lang.
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