세르게이 로즈니차의 극영화 연구 - 롱테이크, 개인의 주변화, 그리고 불확실한 현재를 중심으로 -

초록

This study examines four feature films by Sergei Loznitsa - My Joy(2010), In the Fog(2012), A Gentle Creature(2017), and Donbass(2018) - with particular attention to long takes, the marginalization of the individual, and the representation of an uncertain present. Rather than treating Loznitsa's long takes simply as a means of creating realism, this study analyzes how shot duration, camera movement, and the arrangement of figures within the frame shape the viewer's experience of characters and events. Across the four films, Loznitsa does not consistently employ a single camera style. Instead, he determines the duration of a scene and then uses camera movement and framing to sustain the scene while allowing characters, crowds, objects, and surrounding spaces to remain visible. This approach is closely related to the ways in which individual characters are presented. In My Joy, Georgy loses the ability to speak about his experience after being subjected to violence. In In the Fog, Sushenya struggles to explain himself as the judgment of others determines how he is perceived. In A Gentle Creature, institutional spaces, crowds, and objects repeatedly obstruct the woman's movement and restrict her view. In Donbass, the narrative does not follow a single protagonist; instead, different characters and situations appear in succession, making it difficult for the viewer to understand the events from the perspective of one individual. In each case, the long take and the arrangement of the image prevent the individual from becoming the sole center through which the situation can be understood. The study further argues that this treatment of the individual develops into a broader problem concerning the viewer's ability to judge what is shown on screen. In Donbass in particular, staged events, their recording, and their subsequent transformation into film scenes appear together, making it difficult to distinguish between an actual event and a scene created for the film. The relationship between image, sound, space, and duration therefore becomes central to how the viewer understands the events presented on screen. Loznitsa does not provide a single interpretation or definitive explanation of these events. Instead, he leaves the viewer to examine the images and judge their meaning. At the same time, this does not necessarily lead to a critical response, since the way characters and events are shown can direct the viewer's attention in different ways. Loznitsa's films thus reveal both the possibilities and the limits of leaving judgment to the viewer.

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