Film Spaces, Memory Traces: The Family House in Recha Jungman’s Etwas tut weh (1979)

Authors

  • Annette Brauerhoch University of Paderborn

DOI:

https://doi.org/10.5399/uo/konturen.12.0.4916

Abstract

In 2016 Recha Jungmann’s film Etwas tut weh (Something Hurts, 1976) was rediscovered and restored. Jungmann, alongside with Ula Stöckl, was one of the few women graduates of the Hochschule für Gestaltung in Ulm, where Edgar Reitz and Alexander Kluge taught. In Etwas tut weh she revisits her family’s former estate which is now a ruin, abandoned and vandalized. This article explores how memory work and camera work unite to create spaces in which her family finds a (new) aesthetic home, and in which the film as a form of remembrance creates solidarity with the audience in the cinema -- a space that can give a home to films and spectators alike.

Author Biography

Annette Brauerhoch, University of Paderborn

Annette Brauerhoch is Professor Emerita of Film Studies at the Universität Paderborn (Germany), and co-editor of Frauen und Film. Her focus is on the materiality of film, film theory and the cinema, feminism, and film aesthetics.

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Published

2022-04-28

How to Cite

Brauerhoch, A. (2022). Film Spaces, Memory Traces: The Family House in Recha Jungman’s Etwas tut weh (1979). Konturen, 12, 73–95. https://doi.org/10.5399/uo/konturen.12.0.4916