Abstract
The significance of Deutschland, bleiche Mutter for film criticism derives from the combination of this interest in national history with a feminist concern for women's history. As an historical film, Deutschland, bleiche Mutter exemplifies the inherent problems in treating such material and the tendency to employ the generic codes of melodrama. As the work of a woman director dealing with autobiographical material and the mother-daughter relationship, the film also deserves to be read in terms of feminist film theory and aesthetics. This paper analyzes the film's psychological reading of the maternal figure, its employment of realist and melodramatic codes, the function of the female voice-over, and the use of the mother as a metaphor for German history.
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