Abstract

This paper revisits two early rubble films from 1946 and 1947 against the background of the contemporary fashion and women’s press in Berlin in order to reconstruct a historic female experience of the immediate postwar period that goes beyond the clichéd images of the German woman as Trümmerfrau, Amiflitt-chen, or a victim of rape. By taking a closer look at the presentations of clothes and various sartorial practices in these two films, this article delineates a wider range of subjective positions associated with female characters and a broader array of attractive identities offered to a predominantly female spectatorship.

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Additional Information

ISSN
2164-8646
Print ISSN
0149-7952
Pages
pp. 61-85
Launched on MUSE
2014-04-02
Open Access
No
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