- Page 5 and 6: Masha Salazkina is assistant profes
- Page 8: CONTENTS 1 2 3 4 Acknowledgments :
- Page 11 and 12: Kern, Ilya Kliger, Brendan Moran, E
- Page 13 and 14: which rearranges the material to cr
- Page 15 and 16: Two books that deal with Eisenstein
- Page 17 and 18: twentieth century modernism.” I w
- Page 19 and 20: question, shared by all the authors
- Page 21 and 22: dangerously close to Socialist real
- Page 23 and 24: Trying to fi nd internal correspond
- Page 25 and 26: etween roles), who either literally
- Page 27 and 28: To this list of similarities I woul
- Page 29 and 30: As a result of its revolution, Mexi
- Page 31 and 32: of baroque excess and imagery to hi
- Page 33 and 34: in a postrevolutionary Mexican disc
- Page 35 and 36: the cultural ideology of postrevolu
- Page 37 and 38: cultural relativism in anthropology
- Page 39 and 40: vasconcelos and the arts: montenegr
- Page 41 and 42: Figure 1. Diego Rivera, Portrait of
- Page 43 and 44: and didactic application. Although
- Page 45 and 46: young picador and his adulterous af
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- Page 49 and 50: static shots, this material lends i
- Page 51 and 52: Figure 3. Coatlicue. Olivier Debroi
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Anita Brenner deserves a separate i
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“Corn for the pre-Hispanic cosmol
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a reference to a god of corn, whose
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Figure 7. Shooting the burial of th
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Figure 8. David Alfaro Siqueiros, E
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he worked on exactly at the time of
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2 ------------- “ SANDUNGA” ---
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mythical/utopian past, it is the do
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Figure 11. Alexandrov at camera, Te
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muted background of many shots of t
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for future Mexican productions.”
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However, this visual specifi city,
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The ornate dresses and decorations,
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cinema, in which spectacle is usual
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the patriarchal social norms and th
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of Rivera embodying the Tehuanas an
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alternative to the horrors and deca
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has a matriarchal society next to t
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At the same time, neither the Sovie
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Figure 16. Image from “Sandunga.
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own observations and experiences in
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appear in their place may be seen a
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It is obvious that “Sandunga” c
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Figure 17. Eduard Tisse, Sergei M.
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3 ------------- “ GOING ALL THE W
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eligious, sexual, and artistic. Bot
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Figure 20. Sergei Eisenstein, Mexic
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audience of early cinema, especiall
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and statues, now as the mother of t
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A bullfi ght is a perfect attractio
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of his femininity. The positioning
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Eisenstein always strives for in hi
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the Virgin with his mother because
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Figure 22. Hacienda Tetlapayac, sum
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Figure 24. Sergei M. Eisenstein and
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in the period from 1919 through the
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the political implication of this m
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Figure 25. Sergei M. Eisenstein and
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Figure 26. Image from “Maguey.”
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He conceived the whole fi lm as a c
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Figure 27. Image from “Maguey.”
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While accompanying the crew on thei
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the image of the bisexual gods, and
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the two genders. Thus identity, bot
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announces that he is in love, and t
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phenomena in general: “The proble
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fullest and most fl exible realizat
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it as transference from the sexual
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efl ex; i.e., nondiscarded stimulus
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The obvious success of the visual i
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artists. They turned to lubok for r
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Figure 32. Image from the “Epilog
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epresentation of death in the fi lm
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search of a form of resistance to v
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fi lms, however, particularly Potem
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various commodities of the modern e
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aroque artists employed the allegor
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of natural time; but it also stands
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“the principle” (or, later, “
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sector can neither absorb completel
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striking as it was in the period be
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cement to sell and happened to comm
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Figure 35. Image from the “Epilog
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had located in the mechanization of
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only sees the corpse from the outsi
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In a similar leap, allegedly, he tr
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Figure 40. Frida Kahlo, Girl with D
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which he kept as a “souvenir” i
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attempts to comfort, papering over
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NOTES introduction 1. In 1950, Kenn
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very moments in cultural history—
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particular did research on orally b
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27. We will return to this observat
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horses. Here the revolutionary idea
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40. Katherine Anne Porter, The Coll
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chapter four 1. Geduld and Gottesma
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Mexico, 1923-1940 (Valencia: IVAM C
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BIBLIOGRAPHY works by sergei eisens
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Ivanov, Viacheslav. Ocherki po isto
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Beltran, Neftali. Poesia. México:
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Hanssen, Beatrice. Walter Benjamin
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Trexler, Richard. Sex and Conquest:
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aroque aesthetic (cont.) Viva Méxi
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death (cont.) Mexico, 145; spectacl
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“Epilogue” (cont.) focus, 144;
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jicaras, 44-45 Jiménez, Agustin, 1
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modernism (cont.) 149; fascination
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“Psychology of Composition” (Ei
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Strike, 6, 51, 100, 102, 107 “sup