뉴밀레니엄 전환기의 독일영화 - 베를린파 영화를 중심으로 - (German Cinema in the Era of New Millennium - Focussing on Berlin School -)

서지정보

· 발행기관 : 한양대학교 현대영화연구소
· 수록지 정보 : 현대영화연구 / 12권 / 3호 / 7 ~ 43페이지
· 저자명 : 이주봉

초록

베를린파는 새로운 영화미학과 당대 현실에 대한 진지한 접근으로 동시대 주류 영화계와 달리 상업영화의 저편을 지향하는 뉴밀레니엄 전환기에 등장한 독일의 영화 운동이다. 베를린파의 영화적 기획은 동시대 독일영화에 새로운 이미지를 부여하였으며, 신자유주의 시대에 점차 퇴색해가는 영화미디어의 본질에 대해 다시 한 번 생각하도록 하는 울림을 안겨주고 있다. 그래서 베를린파는 작가주의의 귀환으로 평가되기도 한다. 베를린파 감독들은 자신들의 현실에 대한 이해를 퍼스널한 스타일로 형상화하기 때문에 개개인들이 개성적인 감독들로 평가된다. 하지만 이들의 영화는 큰 틀에서 하나의 공동의 지향과 그 지향을 뒷받침하는 유사한 영상미학을 보여준다. 현실에 대한 관심을 바탕으로 영화적 리얼리즘을 위한 미학형식으로 롱테이크와 정적인 영상프레임을 강조하는 미니멀리즘적 태도는 자주 베를린파 영화의 핵심으로 받아들여진다. 본고는 뉴밀레니엄 전환기에 독일영화의 면모를 새로이 하고 있는 베를린파 영화의 의미를 독일영화사의 복원이라는 맥락에서 이해하고 있다.

영어초록

German Cinema as a national cinema was well known with German Expressionism in 1920s or New German Cinema in 1970s that had impressed the public in the international film history. But after Werner Fassbinder's death in 1982, it didn't gain any international recognition and met with less favor from international critics. But new tendencies of the German Cinema emerged around beginning new millenium and those has made a kind of renaissance during the last two decades.
At that time, many German films impressed the film critics and caught attention of the public in many international film festivals. For example, there were not only award-winning German Films like “Nowhere in Africa”(2001) by Caroline Link, “The Lives of Others”(2006) by Florian Henckel von Donnersmarck, both won “the Oscar for Best Foreign Language Film”, or Fathie Akin’s “Head on”(2004) that won the golden Bear in the Berlinale, but also several successful films at the box office as well as in the review like “Lola run”(1998) by Tom Tykwer, “The Downfall”(2004) by Oliver Hirschbiegel or “Good bye, Lenin!”(2003) by Wolfgang Becker. Besides, several young filmmakers called later Berlin School, like Christian Petzold, Angela Schanelec and Thomas Arslan, distinguished themselves from the mainstream in the 1990s. They have made theirs films with the much more personal film style and recognized film as art.
This paper is to explore the German film history in the era of new millennium, focusing on the movement of Berlin School. Berlin School is one of the most important film tendencies of the German Cinema that have appeared around new millennium, especially in the early 21st century. Berlin School, called also “Counter Cinema” because of their filmic attitudes against the mainstream, has drawn the international film critics’ attention onto the German Cinema again after New German Cinema. This new filmic movement has first started with the films by Christian Petzold, Angela Schanelec and Thomas Arslan, who all studied together at the German Film and Television Academy in Berlin(dffb) around the last 1980s and early 1990s and made their debut films in the 1990s.
The films of Berlin School seem to have the simple stories and the similar film style that is characterized by minimalism. Besides these three directors from dffb, several directors, such like Christoph Hochhäusler, Benjamin Heisenberg, Maren Ade, Ulrich Köhler, Valeska Grisebach, produced their films with the minimalism style telling the simple stories from every common life. These filmmakers have recognized film as art and sought out the meaning of film, not aimed at the commercial success. By showing the personal film style as well as similar comprehension of the film, they have drawn the attention of the worldwide film critics. Especially many french critics paid tribute to the films of Berlin School as calling these films as ‘Nouvelle Vague Allemande’.
The purpose of this paper is to explain Berlin School which is significant in the German Cinema as national cinema, and to understand it in the context of the german film history. I would like to focus on explaining some characteristic features and the innovative style as well as the present and the possibility of Berlin School in this paper.

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