1. Theodor W. Adorno, Prisms , trans. Samuel and Shierry Weber (London: Neville Spearman, 1967), 34.

2. See Theodor W. Adorno, Philosophy of Modern Music , trans. Anne G. Mitchell and Wesley V. Blomster (New York: Continuum, 1985).

3. Hanns Eisler, Composing for the Films (New York: Oxford University Press, 1947), 36. Since Eisler was subject to McCarthyist attacks for his Communist affiliations when the book appeared, Adorno chose not to be credited as co-author until 1969.

4. Jacques Aumont, "Sur le Mont Sinaï," Cahiers du cinéma 430 (April 1990):52.

5. Eisler, Composing , 33.

6. Charles Rosen, Arnold Schoenberg (New York: Viking, 1975), 61.

7. See Carl Dahlhaus, Schoenberg and the New Music , trans. Derrick Puffett and Alfred Clayton (Cambridge: Cambridge University Press, 1988), 120.

8. Ibid., 102.

9. Eisler, Composing , 122.

10. Gertrud Koch, Die Einstellung ist die Einstellung: Visuelle Konstrukitionen des Judentums (Frankfurt am Main: Suhrkamp, 1992).

11. Ibid., 29.

12. Philippe Lacoue-Labarthe, "The Caesura of Religion," in Opera Through Other Eyes , ed. David J. Levin (Stanford: Stanford University Press, 1993), 55.

13. See Koch, Einstellung , 32-33; and Aumont, "Sur le Mont Sinaï," 52.

14. Cited in Koch, Einstellung , 42.

15. Wolfram Schütte, "Aus einem Gespräch mit Michael Gielen," Filmkritik 5/6 (May/June 1975):281.

16. Michael Gielen, "Bericht über die Wiener Tonaufnahmen in April/Mai 1974: Schönbergs Moses und Aron," Filmkritik 5/6 (May/June 1975):276-278.

17. Liz-Anne Bawden, ed., rororo Filmlexikon 2 (Reinbeck bei Hamburg: Rowohlt, 1978), 427; " Moïse et Aaron," Avant-scène cinéma [Special issue on cinema and opera] 360 (May 1987):75.

18. Koch, Einstellung , 43.

19. Gielen, "Wiener Tonaufnahmen," 276.

20. Theodor W. Adorno, "Sacred Fragment: Schoenberg's Moses and Aaron ," in Quasi una Fantasia: Essays on Modern Music , trans. Rodney Livingstone (London: Verso, 1992), 246.

21. Schütte, "Gespräch," 282.

22. Koch, Einstellung , 44.

23. Cited in Hans-Joachim Kraus, "Moses und der unvorstellbare Gott," in Moses und Aron: zur Oper Arnold Schonbergs , Bensberger Protokolle, no. 28 (Bensberg: Thomas-Morus-Akademie, 1979), 24.

24. Ibid., 15.

25. Ibid., 14.

26. Danièle Huillet, "Kleiner historischer Exkurs," Filmkritik 5/6 (May/June 1975):194-202. Compiled in preparation for the film, the sources for the information in the essay are not cited.

27. Ibid., 195.

28. Ibid., 202.

29. Joel Rogers, "Jean-Marie Straub and Danièle Huillet Interviewed: Moses and Aaron as an Object of Marxist Reflection," Jump Cut 12/13 (30 December 1976):62.

30. Huillet, "Kleiner historischer Exkurs," 201.

31. Kraus, "Moses," 16.

32. Both Koch and Walsh provide excellent interpretations of the camera movement and editing. Koch connects the motion of the camera to the musical annotations, and Walsh emphasizes the shifting image composition. See Koch, Einstellung , 44-45; and Martin Walsh, " Moses and Aaron : Straub and Huillet's Schoenberg," in Martin Walsh, The Brechtian Aspect of Radical Cinema , ed. Keith M. Griffiths (London: British Film Institute, 1981), 91-107, or Jump Cut 12/13 (30 December 1976):57-61.

33. " Moses und Aron : Beschreibung und Texte," Filmkritik 5/6 (May/June 1975):203-252. Translations are not those of the subtitles but are taken from the libretto

published with the Philips recording: Arnold Schoenberg, Moses und Aron. Oper in drei Akten , Philips phonograph recording 6700 084, libretto trans. Allen Forte (Mainz: B. Schott's Söhne, 1974), 19.

34. Walsh, " Moses und Aaron," Jump Cut , 58.

35. Ibid., 59.

36. Ibid.

37. Schütte, "Gespräch," 282.

38. Koch, Einstellung , 51.

39. See Aumont, "Sur le Mont Sinaï," 52.

40. See Lacoue-Labarthe, "Caesura of Religion," 62-63: "That Moses is an opera, this is particularly difficult to dispute. From the dramaturgical point of view, it has all the faults of the genre. Among other things, I am thinking of the episode of worshiping the Golden Calf . . . which, in the style of an 'obligatory ballet' (in the second act, of course), lacks nothing of the lascivious absurdity of the 'flower maidens' in Parsifal ."

41. Eugen Biser, "Der unvorstellbare Gott: Das Geheimnis ins Bild gebracht," in Moses und Aron: zur Oper Arnold Schönbergs . Bensberger Protokelle, no. 28 (Bensberg: Thomas-Morus-Akademie, 1979), 28. "Even the destruction of the graven image was only a sign, an image."

42. Lacoue-Labarthe, "Caesura of Religion," 65.

43. Ibid., 74.

44. Schoenberg, Moses und Aron , 20; shot 82.

45. Koch, Einstellung , 50.

46. See Arnold Schoenberg, Wassily Kandinsky: Letters, Pictures and Documents , ed. Jelena Hahl-Koch, trans. John C. Crawford (London: Faber and Faber, 1984).

47. Rosen, Arnold Schoenberg , 46.

48. Ibid., 57.

49. Ibid., 44-45.

50. Martin Walsh, " Introduction to Arnold Schoenberg's 'Accompaniment for a Cinematographic Scene' : Straub/Huillet: Brecht: Schoenberg," Camera Obscura 2 (Fall 1977):40.

51. Ibid., 37.

52. Ibid., 40.

53. Ibid., 42.

54. Ibid., 45.

55. Ibid., 37. Martin Jay also notes that the aftermath of the Paris Commune marks the beginning of the use of photos for police purposes. See Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley, Los Angeles, and London: University of California Press, 1993), 143.

56. Stephen Heath, Questions of Cinema (Bloomington: Indiana University Press, 1982), 13-15; see also Jacques-Alain Miller, "Suture," Screen 18, no. 4 (Winter 1977-1978):34.

57. Franco Fortini, "Brief an Jean-Marie Straub," Filmkritik [special issue] 1 (1977):2-3.

58. Straub/Huillet, " Introduction to Arnold Schoenberg's 'Accompaniment for a Cinematographic Scene' " [Screenplay], Screen 17, no. 1 (Spring 1976):77-83; shot 2.

59. Cited in Franco Fortini, "The Writers' Mandate and the End of Anti-Fascism," Screen 15, no. 1 (Spring 1974):56.

60. Peter Nau, "Drohende Gefahr, Angst, Katastrophe," Filmkritik 3 (1978):140.

61. A phrase used in the context of the creation of meaning in Hölderlin's poetry by Lacoue-Labarthe, in "Caesura of Religion," 73.