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seekingferretTitle: Gettin' Ready to Get Down: Or How I Learned to Stop Worrying and Love the Calf
Fandom: Moses und Aron (Straub-Huillet production)
Vidder: seekingferret
Song: "Getting Ready to Get Down" by Josh Ritter
Content Notes: TW: Suicide, Heresy
Length: 2:40
Responsible for the lack of consistent title block from vid to vid: seekingferret
Summary Take that, Schoenberg!
Acknowledgements Thanks toghost_lingering and raspberryhunter for betaing: The former as my knows-vidding-but-doesn't-know-the-opera beta, the latter as my knows-opera-but-not-vidding beta, together they were a great team.
This vid exists because United cancelled my flight to Vividcon. 90% of the timeline was laid in Newark Airport, at least the original draft. It's taken a lot of finetuning since then, but I'm really proud of the final result.
This is definitely yet again a vid for a fandom nobody's seen, but whatever, I've been rabidly fannish about this movie for a decade and I'm so pleased to celebrate it and share it with the greater world.
Moses und Aron is an early 20th century atonal opera by Arnold Schoenberg, which presents an extremely idiosyncratic take on the story of the Exodus, filtered through the thinking of Freud and Buber and other important early 20th Century German-Jewish philosophers, as well as through Schoenberg's own twisted and difficult relationship with his Jewish faith. It was filmed in the mid 70s by a team of French experimental filmmakers whose film treats the Sinai desert as another character in the film, filling it with stark, vast desert shots that dwarf the characters and make everyone seem small compared to the vastness of God. Straub and Huillet's film is beautiful but harrowing, and it is so static and irregular that it proved a great challenge to vid.
In Schoenberg's presentation, Moses and Aaron are oppositional forces. Moses is the champion of an unknowable, ineffable God, while Aaron believes that metaphor and imagery must be used to bring God's message to the People, who together comprise a third character sitting in between the dialectic fraternal struggle. In the unfinished third act, Moses triumphs far more than in the original text of Exodus, exiling his brother from the nation for trying to introduce the idolatrous worship of the calf.
This is a very different story than the Jewish Exodus, and I sought in this vid to rehabilitate Aaron, to show why physical enjoyment and visual beauty has to have a place in Jewish worship of the divine.
Fandom: Moses und Aron (Straub-Huillet production)
Vidder: seekingferret
Song: "Getting Ready to Get Down" by Josh Ritter
Content Notes: TW: Suicide, Heresy
Length: 2:40
Responsible for the lack of consistent title block from vid to vid: seekingferret
Summary Take that, Schoenberg!
Acknowledgements Thanks to
ghost_lingering and raspberryhunter for betaing: The former as my knows-vidding-but-doesn't-know-the-opera beta, the latter as my knows-opera-but-not-vidding beta, together they were a great team.This vid exists because United cancelled my flight to Vividcon. 90% of the timeline was laid in Newark Airport, at least the original draft. It's taken a lot of finetuning since then, but I'm really proud of the final result.
This is definitely yet again a vid for a fandom nobody's seen, but whatever, I've been rabidly fannish about this movie for a decade and I'm so pleased to celebrate it and share it with the greater world.
Moses und Aron is an early 20th century atonal opera by Arnold Schoenberg, which presents an extremely idiosyncratic take on the story of the Exodus, filtered through the thinking of Freud and Buber and other important early 20th Century German-Jewish philosophers, as well as through Schoenberg's own twisted and difficult relationship with his Jewish faith. It was filmed in the mid 70s by a team of French experimental filmmakers whose film treats the Sinai desert as another character in the film, filling it with stark, vast desert shots that dwarf the characters and make everyone seem small compared to the vastness of God. Straub and Huillet's film is beautiful but harrowing, and it is so static and irregular that it proved a great challenge to vid.
In Schoenberg's presentation, Moses and Aaron are oppositional forces. Moses is the champion of an unknowable, ineffable God, while Aaron believes that metaphor and imagery must be used to bring God's message to the People, who together comprise a third character sitting in between the dialectic fraternal struggle. In the unfinished third act, Moses triumphs far more than in the original text of Exodus, exiling his brother from the nation for trying to introduce the idolatrous worship of the calf.
This is a very different story than the Jewish Exodus, and I sought in this vid to rehabilitate Aaron, to show why physical enjoyment and visual beauty has to have a place in Jewish worship of the divine.
(no subject)
Date: 2016-10-16 02:00 am (UTC)(no subject)
Date: 2016-10-16 02:14 am (UTC)(no subject)
Date: 2016-10-16 11:11 am (UTC)"Jesus hates your high school dances!" still always makes me laugh :)
(no subject)
Date: 2016-10-16 04:54 pm (UTC)(no subject)
Date: 2016-10-16 03:30 pm (UTC)(no subject)
Date: 2016-10-16 04:54 pm (UTC)