Schönlind, 1967, Kurt Schneider, Richard Schubert, 44 min
Whatever we remember as our past is our past. We forget it and we return to it time and again but we never know how it really was except for others to remind us. What is remembered and how? What would one like to remember and what not? Is film the most appropriate means of paying tribute to the past?
The film Schonlind records the life of peasants from the village not far from German border. Daily farm work captured en plain air, family gatherings, rituals, religious holidays or private celebrations allow the viewer to imagine the world of rural Germany after the World War II.
Various occasions reveal various aspects of rural community apparently unaffected by the recent war. The aesthetics of the found-footage-film adds the aspect of particular authenticity creating the atmosphere of immediacy almost involving the viewer into whatever is happening on screen, whereas the classic music added later to the film and the accompanying text, a Bavarian dialect spoken in that part of the land, adds the aspect of timelessness and personal touch to the narrative film line.
The cinematographic image of Schonlind thus offers a descriptive tableau of the rural community captured within the picturesque landscape. A tableau based pretty much on personal memories one remembers from childhood.
Text: Dr. Phil. Lily Fürstenow-Khositashvili, January 2013, DAAD alumna, born in Tbilisi, grown up in Moscow