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BERMAN Figure 16. Höhle der Erinnerung (Cave of Memory), dir. Hans-Jürgen Syberberg, 1997 collective remembrance, or repression, of things past—in addition to exploring the following important subjects that recur in his oeuvre: the relations between theater and film, and by extension among film, video, and computer-enabled digital technology; the relationship of the Gesamtkunstwerk to the particular arts of closet drama, literary fiction, and lyric poetry; and the juxtaposition of artistic “shadow worlds,” in Plato’s cave as in Syberberg’s own films, with the material world of transitory reality, on the one hand, and the ideal realm of immutable eternity, on the other.
Thus the link is further established, through Winifred’s own unreflective commentary, between the operas and the use of the festivals for propaganda purposes. The filmmaker does not himself intrude any “moral” or pointed comment to this effect, preferring rather to film a quotation from Richard Wagner on art and revolution that asserts Wagner’s beliefs that the public should have free access to art, and that art should serve as the basis of all future institutions. The audience should connect this quotation to that of Hitler which acknowledges Wagner as his predecessor.
She tells, with great affection, how Hitler came frequently at night, talked for long hours with her, and came to the children’s bedside. He also took the children for rides in his car. At times, he allowed Winifred to meet him and drive him to Wahnfried, in spite of his contempt for women drivers. ” Out of her deep affection for and loyalty to Hitler, she waxes eloquent on how Hitler was “never the Führer to us. ” When asked whether she experienced any moments 30 POLITICS, AESTHETICS, AND PATRIARCHY IN THE CONFESSIONS OF WINIFRED WAGNER Figure 17.