라이너 베르너 파스빈더의 한 영화에 대해 글을 쓴다는 것은 불가피하게 이 인물에 대한 수많은 일화와 만나야 함을 의미한다. 그의 업을 이해하기 위해 보통 그와 그의 “패밀리”(배우와 스텝들로 이루어진 비교적 확고한 앙상블)에 대한 이야기들이 사용된다. 그리고 사람들은 그의 영화를 통해 파스빈더의 “내면세계”를 들여다볼 수 있다고 추측한다. 그러나 이 글은 단순히 투사(Projektion)나 정신분석학적 석에 근거하여 그의 영화에 대한 어떤 관점을 제시하려는 것이 아니라, 〈13달인 어느 해〉(1973)라는 영화에 나타난 영상미학적 특성들을 탐구할 것이다. 나의 테제는 이미지와 음향을 정확히 기술하는 일이 서사학적, 언어학적, 역사적, 정신분석학적 접근방식보다 영화가 표현하고자 하는 것들을 더 분명하게 만들어준다는 사실이다.

〈13달인 어느 해〉는 영화 역사상 가장 강렬하고 혼란스러운 영화 중 하나이다. 이 영화를 정확히 탐구하다 보면 특별한 통찰을 얻게 된다. 말하자면 한 가지 테마, 즉 고통이라는 테마를 가능한 모든 영화적 수단을 이용해 이야기할 수 있게 됨을 깨닫게 된다.

들어가는 말 ···································································································································· 5

제1장 13달인 어느 해 ················································································································ 15
1.1. 생성사 ········································································································································ 17
1.2. 장면 묘사 ·································································································································· 21
1.3. 공간과 음향 ······························································································································ 48

제2장 멜로드라마 영화의 변주 ······························································································· 53
2.1. 고전적 멜로드라마 영화의 미학적 특징 ·············································································· 55
2.2. 보론- 〈마르타(Martha)〉 ······································································································· 62
2.3. 멜로드라마 영화의 관점에서 본 〈13달인 어느 해〉 ·························································· 73

제3장 육체 ····································································································································· 79
3.1. 섹슈얼리티 ································································································································ 81
3.2. 특발증(Idiopathsche; 特發症)과 역증(Heteropattsche; 逆症)
동일화 작용/ 마조히즘 ··················································································································· 87
3.3. 살의 희생 ································································································································· 104

제4장 정치/역사 ·························································································································· 111
4.1. 과거 극복 ································································································································· 113
4.2. 동일화 기계 ····························································································································· 125

제5장 탈경계 ································································································································· 127
5.1. 리듬 ··········································································································································· 129
5.2. 시간-이미지 ····························································································································· 133

제6장 고통의 모티브/주도 모티브 ······················································································· 137
6.1. 절단 ·········································································································································· 139
6.2. 언어 ·········································································································································· 141
6.3. 교향곡 ······································································································································· 147

맺음말 ···························································································································································· 149

옮긴이 후기 ·································································································································· 155

참고문헌(Bibliographie) ············································································································ 167