Abstract
Films about women survivors tend to portray them as profoundly troubled individuals, whose lives end in self-destruction.1 In the best cases, the point of these films is to dramatize the ongoing impact of the Holocaust on the lives of survivors. They often seek to validate the perception that the Holocaust is a profoundly mutilating and deforming event and that in the case of survivors it has a psychological after-life. When the attempt is to elicit empathy for the characters most films seize on romantic and tragic narrative conventions. More often than not, the films portray these women in traditional male-dependent roles. The sexual and maternal roles assigned to most of the characters enclose them in a domestic universe of traditional femininity. The ‘older’ survivors tend to fall into the conventional cinematic category of the aging woman, polarized as saint or shrew.2 The story of the woman’s survival is the story of her eventual demise, suggesting a certain death wish, or mythical masochism, thus validating yet another female stereotype.3 The plot in most of these films hinges on a process of degeneration, mental breakdown and death. Films like I Love You Rosa, The Summer of Aviya and Enemies: A Love Story strive to create the illusion of ordinary women, but this ordinariness is often shaped by an ideology of female propriety. What is most disturbing is the reliance on the trope of female instability.4 Most women in these films are portrayed as both ignorant and mentally fragile. The women’s perceptions do not concur with what the films construct as ‘reality’. With the exception of Sophie’s Choice, which focuses on a gentile woman, most of the films I will discuss barely explain or dramatize the specific events, or memories that interfere with the victim’s appropriate interpretation of her social reality.
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Notes
Karen M. Stoddard, Saints and Shrews: Women and Aging in American Popular Film (Westport: Greenwood Press, 1983).
Paula J. Caplan, The Myth of Women’s Masochism (New York: Dutton, 1985).
Mary Ellmann, Thinking About Women (New York: Harcourt Brace Jovanovich, 1968).
Sander L. Gilman, Difference and Pathology: Stereotypes of Sexuality, Race and Madness (Ithaca and London: Cornell University Press, 1985); Shoshana Felman, Writing and Madness: (Literature/Philosophy/Psychoanalysis) (Ithaca and London: Cornell University Press, 1985).
Phyllis Chesler, Women and Madness (New York: Avon Books, 1973);
Elaine Showalter, The Female Malady: Women Madness and English Culture 1830–1980 (New York: Pantheon, 1985).
The compulsion to hide is more appropriate to memoirs and fictional dramatizations of victims who survived by hiding, rather than of concentration camp vicitms. See Lillian Kremer, Women’s Holocaust Writing: Memory and Imagination (Lincoln and London: 1999), pp.24–25.
André Pierre Colombât, The Holocaust in French Film (Metuchen and London: The Scarecrow Press, 1993), pp.49–96. Colombât does not deal with Madame Rosa but analyses a number of films produced in the 1980s that reveal what he calls ‘a struggle for accuracy’.
Mary Anne Ferguson, Images of Women in Literature (Boston: Houghton Mifflin Company, 1981);
Nehama Aschkenazy, Eve’s Journey: Feminine Images in Hebraic Literary Tradition (Philadelphia: University of Pennsylvania Press, 1986).
David Biale, Eros and the Jews: From Biblical Israel to Contemporary America (Berkeley: University of California Press, 1997), p.176–203.
Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988).
On male produced images of women in Israeli cinema, see Ella Shohat, ‘Making the Silences Speak in Israeli Cinema’, Calling the Equality Bluff: Women in Israel, eds. Barbara Swirski and Marilyn P. Safir (New York: Pergamon Press, 1991), pp.31–40).
Evelyn T. Beck, ‘I.B. Singer’s Misogyny’, Nice Jewish Girls: A Lesbian Anthology, ed. Evelyn T. Beck (Watertown: Persephone Press, 1982), pp.243–249.
Sara R. Horowitz, ‘But Is It Good for the Jews? Spielberg’s Schindler and the Aesthetics of Atrocity’, Spielberg’s Holocaust: Critical Perspectives on Schindler’s List ed. Yosefa Loshitzky (Bloomington: Indiana University Press, 1997), 119–139.
Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), p.19.
Ilan Avisar, Screening the Holocaust: Cinema’s Images of the Unimaginable (Bloomington and Indiana: Indiana University Press, 1988), p. 127.
Annette Insdorf, Indelible Shadows: Film and the Holocaust (Cambridge: Cambridge University Press, 1989; first edition 1983, reprinted 1990), pp.37–39.
Janice A. Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: The University of North Carolina Press, 1984), p.150.
Carol Rittner and John Roth, Different Voices: Women and the Holocaust (New York: Paragon, 1993);
Myrna Goldenberg, ‘Testimony, Narrative and Nightmare: The Experience of Jewish Women in the Holocaust’, Active Voices ed. Maurie Sacks (Urbana: University of Illinois Press, 1995), pp.94–108;
Joan Ringelheim, ‘Women and the Holocaust: A Reconsideration of Research’, Jewish Women in Historical Perspective ed. Judith R. Baskin (Detroit: Wayne State University Press, 1991), pp.243–264.
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© 2001 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Fuchs, E. (2001). Women Survivors in Cinema. In: Roth, J.K., Maxwell, E., Levy, M., Whitworth, W. (eds) Remembering for the Future. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-66019-3_187
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