사실의 간극을 채우는 페미니즘적 상상: 클라라 슈만 관련 전기영화 비평
A Feminist Criticism on Clara Schumann’s Image in Three Biographic Films on the Schumanns
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Three films feature Clara Schumann (1819-1896) as a character: Song of Love (1947), Frühlingssinfonie (1983), and Geliebte Clara (2008). While all three films deal with same topic—Robert and Clara Schumann’s life together—they differ in several details. Song of Love, directed by Clarence Brown, was produced and distributed by a major film company in the United States; Brown’s film covers the longest period, from the couple meeting in the 1830s to Clara’s death in 1896. Frühlingssinfonie, directed by Peter Schamoni, was produced in the former West Germany; Schamoni focuses on the musicians’ love story, from their courtship to the 1840 premiere of Robert’s Symphony No. 1 “Spring”, soon after their wedding. Geliebte Clara, directed by Helma Sanders-Brahms, was the product of a “Franco-German-Hungarian” collaboration, spanning the couple’s move to Düsseldorf and Robert’s last years. As the Schumanns left extensive archival resources regarding their life together, audiences are apt to believe their cinematic representations are largely based in fact. Yet in comparing the films, the portrayal of Clara differs dramatically depending on the time, place, and director of each film, raising the question of the extent to which her image was constructed according to fact and fiction. By analysing and comparing Clara’s characterization in each film, this paper explores how the history of a real woman musician was altered to reflect the contemporary interpretation – among the film maker, audience, and in the wider cultural context – of a woman’s role and position: from a traditional mother who willingly manages both domestic work and a professional career, to a more realistic woman who struggles to survive in the face of her husband’s illness. This will ultimately lead to consideration of the relationship between musicology and artistic representation of music history.
Abstract
Three films feature Clara Schumann (1819-1896) as a character: Song of Love (1947), Frühlingssinfonie (1983), and Geliebte Clara (2008). While all three films deal with same topic—Robert and Clara Schumann’s life together—they differ in several details. Song of Love, directed by Clarence Brown, was produced and distributed by a major film company in the United States; Brown’s film covers the longest period, from the couple meeting in the 1830s to Clara’s death in 1896. Frühlingssinfonie, directed by Peter Schamoni, was produced in the former West Germany; Schamoni focuses on the musicians’ love story, from their courtship to the 1840 premiere of Robert’s Symphony No. 1 “Spring”, soon after their wedding. Geliebte Clara, directed by Helma Sanders-Brahms, was the product of a “Franco-German-Hungarian” collaboration, spanning the couple’s move to Düsseldorf and Robert’s last years. As the Schumanns left extensive archival resources regarding their life together, audiences are apt to believe their cinematic representations are largely based in fact. Yet in comparing the films, the portrayal of Clara differs dramatically depending on the time, place, and director of each film, raising the question of the extent to which her image was constructed according to fact and fiction. By analysing and comparing Clara’s characterization in each film, this paper explores how the history of a real woman musician was altered to reflect the contemporary interpretation – among the film maker, audience, and in the wider cultural context – of a woman’s role and position: from a traditional mother who willingly manages both domestic work and a professional career, to a more realistic woman who struggles to survive in the face of her husband’s illness. This will ultimately lead to consideration of the relationship between musicology and artistic representation of music history.
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