Shadrach, Meshach, and Abednego

Raising of Lazarus

The film “Open City” concludes the film beautifully because it wraps up the major plot points developed throughout the film such as the outcome of the conspiracy against the government. The film does not try to appease the audience by adding unnecessary scenes, such as if Marcello and Francesco re-united in an embrace at the end. The audience already feels that this will happen because the Nazis did not capture Francesco.  The film allows the audience to question why the execution of the priest had to happen, why couldn’t he have been saved, why does war exist, and what is the source of evil. This is a healthy ending because it arouses the audience and makes them want to change something in the world and possibly in themselves. Would I have been that heroic to die for my country? The film leaves the audience wrestling with these deep questions and a hope in the children of Italy.

The Three Hebrew Youths in the Fiery Furnace

Artist: Unknown

Dimensions: 20 x 30 inches

Date: Early 3^rd Century 300

Location: Christian Catacomb of Priscilla, Rome, Italy

Medium: Fresco on Stucco

The Miracle: Daniel 3 - Deliverance from the Flames

Historical Style: 
The fresco emulates the Roman style of fluid paint and flowing brush strokes. The painting reflects the paleochristian style, which embodies early Christian illustrations of biblical events in the form of symbols and simple imagery. Artists were instructed to create works of art within the burial grounds in order to translate light and warmth within the frigid darkness to those buried awaiting the final resurrection. This piece was painted during the Middle Ages from 200 – 1400 CE, which means it was a point of intercession from ancient Roman and Greek civilization to the “new” Renaissance period. By Renaissance artists it was thought to have been a time of artistic darkness and cultural neglect, today historians label the period as a movement of exploration and Christian growth.

Symbolic Analysis:

The painting illustrates the Biblical story of Shadrach, Meshach, and Abednego, where Babylonian King Nebuchadnezzar decrees that all people of his kingdom must fall down and worship to his golden image every day when the sound of music is heard. The three Jewish men Shadrach, Meshach, and Abednego refuse to partake in this idolatry and as a punishment are thrown into a blazing furnace. The three men are bound and shoved into the fire, even the three guards who placed them into the furnace burn to death. King Nebuchadnezzar watches the furnace intently to whiteness the men’s death, but instead the figures remain standing and a fourth body appears. The fourth body is Christ in the center of the flames protecting the men. In the painting Christ is represented in the form of the dove. The dove is a portrayal of the Holy Spirit, who descends from the heavens to deliver the men from the flames. The bird carries an olive branch in its mouth to symbolize the bearing of peace, comfort, and victory to the faithful followers. Nebuchadnezzar releases the men from the flames in awe of their God and their faith. He declares that no man who believes in their God is to be harmed.

The strong outlines of the figures produce the two-dimensionality, which flattens the painting and spiritualizes the figures. The hands are outstretched toward the sky in a prayer position that is depicted in the other human illustrations in the Catacombs. Early Christians would raise their hands to the heavens as a way to extend to God and reflect Christ’s outstretched arms on the cross. The raised arms convey the men's liberation from the flames as they extend their thanks to God.

Reflection:

The story of Shadrach, Meshach and Abednego truly conveys God’s miraculous capabilities of manipulating his own creation. God possesses the ability to prevent fire from burning; the Creator removes his creations natural instinct to protect his beloved, man. These men embody true disciples of God. They have such astounding faith in his might that they would jump into a flaming furnace in honor of his name. Their devotion burns as passionately and empowering as the flames that engulf them. These men inspire me to combat my own fires of failure, beauty, perfection, anxiety, and stress with a heart and mind empowered by Christ. To obtain a faithful soul who recognizes and trusts in God’s unfathomable divinity, glory, and supremacy.

Water into Wine

In creating a great story it must be universal or relatable to humanity as a whole. In District 9 the universal theme is discrimination, abandonment, and sacrifice. People are in a constant struggle with acceptance from others. The basic story is about an individual who doesn’t understand and pokes fun at another race and then becomes that race himself. It’s basically the story about the rich man who becomes poor and is abandoned and mistreated by all his rich friends, with a new twist. Aristotle states, “the function of a poet is not to say what has happened, but to say the kind of thing that would happen” (Ch.5 Universality). District 9 is a perfect representation of this concept because what the movie is actually about has never occurred. The story transforms the concept of racism and discrimination and places it into the genre of aliens vs. humans.

David with the Head of Goliath

Artist: Guido Reni

Date: 1605

Location: Louvre Museum: Paris, France

Medium: Oil on Canvas

Dimensions: 220 x 145 cm

In this piece by Guido Reni we see David standing calmly beside the severed head of Goliath. His expression is one of satisfaction but also of disinterest. T his painting was completed in 1605 during the Baroque Era but seems to lack a few key elements that Baroque paintings are known for. T here is little motion, little emotion, and little drama. David is leaning on a pillar, motionless. Goliath’s head sits with eyes closed as though he is just sleeping. He doesn’t appear to have been any kind of threat to David. He may have been depicted in this way to show how confident David was in the power of his God. In a sense, Goliath was not a threat to David. All along he knew that God was in control so there was no need to fear the giant. This piece is one of contemplation. David seems to be pondering the death of Goliath without being too attached. T his makes David appear to be disinterested with killing and death. If there was too much interest it would tarnish his holy and Christ-like appearance. this may have been in response to the religious turmoil that was ensuing during the Baroque Era. Churches were striving to redefine faith, Catholics and Protestants were battling head on for religious rights. T he pope called for art that clearly stated the power of God. David’s casual stance speaks greatly toward the power of God.

Chiaroscuro is used very subtly in this painting. David’s right shoulder is illuminated by a mysterious light. One can only assume that it is a Heavenly light because everything else is dark and only the spot where David is standing is lit up. T he painting also uses warm colors which were common to Baroque Era paintings. Because of this the aesthetics of the painting are calming and echo the stance that David holds. David’s shoulder seems to be the focal point of the painting. It is the spot where the darkest dark and the lightest light meet. T he light on his shoulder draws your eyes upward to see his almost expressionless face.

While this piece was completed around the same time as Carvaggio’s David with the Head of Goliath, it is very, very different. Carvaggio’s piece is one coursing with motion. Even though Goliath’s head is detached from his body it looks as though it could bite your fingers off at any moment. Unlike Reni’s painting it uses T enebrism that Carvaggio is so famous for. T enebrism is a type of chiaroscuro, but it is just more intense. Reni’s David seems to be contemplating the death of Goliath whereas Carvaggio’s David is scowling down at the dripping head that is extended towards onlookers. His expression seems to be one of pity and almost concern whereas Reni’s David leans casually, as detached as Goliath’s head.

Christ's Transfiguration

 

Aristotle states that, “a plot is not unified because it is concerned with a single person” (Ch. 6 Unity). A magnitude of things could happen to one person, but they are not all unified. District 9 did not contain events that could have happened to Wikus or Christopher that were irrelevant to the progression of the story or its overall meaning. The writers did not include a five minute long scene of Wikus cleaning an alien gun. This would have been unimportant to the story and wasn’t crucial to Wikus’ character development. District 9’s scenes are aimed at revealing Wikus’ transformation not random events that fail to unify the story.