Imagendering II

Works Cited

Färberböck, Max, dir. Aimée & Jaguar: A Love Greater than Death Zeitgeist Video, New York, 2001.

Fischer, Erica. Aimée and Jaguar: A Love Story. Trans. Edna McCown. 1st Alyson ed. Los Angeles: Alyson Books, 1998.

Goldenberg, Myrna. "'From a World Beyond': Women in the Holocaust." Feminist Studies 22.3(1996). 667.

Parkinson, Anna M. "Of Death, Kitsch, and Melancholia: Aimée Und Jaguar: 'Eine Liebesgeschichte, Berlin 1943' or 'Eine Liebe Größer Als Der Tod'?" German Culture and the Uncomfortable Past: Representations of National Socialism in Contemporary Germanic Literature. Ed. Helmut Schmitz. Burlington: Ashgate, 2001. 143-63.

Taberner, Stuart."'Wie Kannst Du Mich Lieben?': 'Normalizing' the Relationship between Germans and Jews in the 1990s Films Aimée Und Jaguar and Meschugge." Politics and Culture in Twentieth-Century Germany. Ed. William Niven and James Jordan. Studies in German Literature, Linguistics, and Culture. Rochester, NY: Camden House, 2003. 227-43.

United States Holocaust Memorial Museum. "Homosexuals: Victims of the Nazi Era." May, 19 2004. www.holocaust-trc.org/homosx.htm.

Zeitgeist Films.An Interview with the Real Lilly Wust. 2004. May, 10 2004. www.zeitgeistfilms.com/current/aimeejaguar/aimeejaguar.html.

Zimmer, Catherine. "Verboten Love." GLQ: A Journal of Lesbian and Gay Studies 7.3 (2001): 453-58.

Notes

• 1) "Aimée" is Felice's nickname for Lilly, and Lilly calls Felice her "Jaguar."
• 2) The vast majority of homosexual victims were males; lesbians were not subjected to systematic persecution. While lesbian bars were closed, few women are believed to have been arrested. Paragraph 175 did not mention female homosexuality. Lesbianism was seen by many Nazi officials as alien to the nature of the Aryan woman. In some cases, the police arrested lesbians as "asocials" or "prostitutes" (United States Holocaust Memorial Museum, pamphlet)
• 3) This can be seen in the assignment of culpability in Lilly and Günther's divorce, to which I will return in a moment.
• 4) The character of Ilse in the movie seems to be a composite of several individuals from the novel, most notably Inge, the domestic service worker, and Elenai, another friend of Felice's that Lilly stayed close with throughout the war.
• 5) Anna Parkinson addresses the cultural phenomenon of melancholia described by Margarete and Alexander Mitscherlich, who posit that "the relentless work of the German Wiederaufbau was a deflection from the necessary forms of national and individual mourning that should have occurred after the devastating events of the Second World War…Instead of the necessary mourning that usually takes place after significant and traumatic loss, post-war German society was riddled with melancholic identifications that were collectively disavowed through the obsession with manically and frenetically rebuilding Germany. Thus the necessary act of confronting and working through their interiorized ideals of the 'Vaterland' and the 'Führer myth', and the mass crimes of the National Socialist regime never really took place on a collective, or often even individual level" (159).
• 6) Erica Fischer is claimed as "one of Vienna's foremost feminist writers and journals" who currently resides in Berlin, Germany. (Back cover of Aimée and Jaguar). In her epilogue, she identifies herself as Jewish.