한스 크리스티안 슈미트와 현대 독일영화 -최근작 <스톰> (2009)을 중심으로- (Hans-Christian Schmid and Contemporary German Film -Focusing on (2009)-)

서지정보

· 발행기관 : 한양대학교 현대영화연구소
· 수록지 정보 : 현대영화연구 / 6권 / 2호 / 5 ~ 35페이지
· 저자명 : 이주봉

초록

Today’s German film goes into new renaissance. There is the recent rapid progress of German film, which is not only in the interest of critics but also in good returns at the German box office. Schmid is one of the most important new generation film makers in the present German film. Schmid was born in 1965 in Altoetting, but today lives in Berlin, where his production company 23/5 is located. Schmid was known as a film maker to critics, with the documentary <Die Mechanik des Wunders>, the graduation film at the Munich Academy for Television and Film. And both critics and audience have paid attention to him by his film work of five feature films since the debut film <Nach Fuenf im Urwald>. Especially <Lichter> in 2002, <Requiem> in 2006 to <Sturm> in 2009, Schmid’s three films were continually invited in the competition of the Berlinale. <Sturm>, Schmid’s political drama, released at the 2009 Berlinale, is the work which reveals “why Schmid” well once again.
<Sturm>, a different kind of political thriller, is about Bosnia war criminal accused at UN International Criminal Tribunal for the former Yugoslavia(ICTY)in the Hague. Hannah Maynard, a prosecutor at ICTY, is leading a trial against Coran Duric, former commander of the Yugoslavian National Army. Hannah meets Mira who is not willing to admit but has much more to say about the defendant. Mira finally agrees to testify against Duric at the ICTY. But just before a legal hearing, Mira’s testimony is disallowed by the compromise of Duric’s defence and the judiciary under the pressure of ICTY’s 2010 legal deadline. Hannah herself faces the trial of her life and she is confused between her strong beliefs in the justice system and her loyalty towards the witness.
The film narrates without any special effects or dramatic music and instead presents documentary style filmmaking, which focuses on Hannah’s struggle for justice and truth. As for mise-en-scene, the movement of handheld camera supports directly the narrative all. For example, camera moves with adhering to figure movement. When a character moves, Schimid often pans or zoom in/out to follow. Namely the handheld camera follows a walking protagonist, moving together. <Sturm> can be told as the film that has realistic elements in the style as well as in the content.
The film makes audience experience the aspects of their reality most validly.
Because Hannah’s everyday life is with the moments of trivial and casual, as are we all, at each moment an ordinary reality can be reconstructed. So this moment of reality can be comprehended as that of “the redemption of physical reality”. <Sturm> reveals so well Schimid’s style about the reality of our life and his research for reality, justice and human.

영어초록

Today’s German film goes into new renaissance. There is the recent rapid progress of German film, which is not only in the interest of critics but also in good returns at the German box office. Schmid is one of the most important new generation film makers in the present German film. Schmid was born in 1965 in Altoetting, but today lives in Berlin, where his production company 23/5 is located. Schmid was known as a film maker to critics, with the documentary <Die Mechanik des Wunders>, the graduation film at the Munich Academy for Television and Film. And both critics and audience have paid attention to him by his film work of five feature films since the debut film <Nach Fuenf im Urwald>. Especially <Lichter> in 2002, <Requiem> in 2006 to <Sturm> in 2009, Schmid’s three films were continually invited in the competition of the Berlinale. <Sturm>, Schmid’s political drama, released at the 2009 Berlinale, is the work which reveals “why Schmid” well once again.
<Sturm>, a different kind of political thriller, is about Bosnia war criminal accused at UN International Criminal Tribunal for the former Yugoslavia(ICTY)in the Hague. Hannah Maynard, a prosecutor at ICTY, is leading a trial against Coran Duric, former commander of the Yugoslavian National Army. Hannah meets Mira who is not willing to admit but has much more to say about the defendant. Mira finally agrees to testify against Duric at the ICTY. But just before a legal hearing, Mira’s testimony is disallowed by the compromise of Duric’s defence and the judiciary under the pressure of ICTY’s 2010 legal deadline. Hannah herself faces the trial of her life and she is confused between her strong beliefs in the justice system and her loyalty towards the witness.
The film narrates without any special effects or dramatic music and instead presents documentary style filmmaking, which focuses on Hannah’s struggle for justice and truth. As for mise-en-scene, the movement of handheld camera supports directly the narrative all. For example, camera moves with adhering to figure movement. When a character moves, Schimid often pans or zoom in/out to follow. Namely the handheld camera follows a walking protagonist, moving together. <Sturm> can be told as the film that has realistic elements in the style as well as in the content.
The film makes audience experience the aspects of their reality most validly.
Because Hannah’s everyday life is with the moments of trivial and casual, as are we all, at each moment an ordinary reality can be reconstructed. So this moment of reality can be comprehended as that of “the redemption of physical reality”. <Sturm> reveals so well Schimid’s style about the reality of our life and his research for reality, justice and human.

참고자료

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