In Excess: Sergei Eisentein's Mexico - Cineclub

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BIBLIOGRAPHY works by sergei eisenstein Eisenstein, Sergei. Film Form. Translated by Jay Leyda. New York: Harcourt Brace & World, 1949. . Film Sense. Translated by Jay Leyda. New York: Harcourt Brace & World, 1942. . Immoral Memories: An Autobiography. Translated by Herbert Marshall. Boston: Houghton Miffl in Co., 1983. . Volume I: Writings, 1922–1934. Edited and translated by Richard Taylor. London: BFI, 1988. . Volume II: Towards a Theory of Montage, 1937–1940. Edited by Michael Glenny and Richard Taylor. Translated by Michael Glenny. London: BFI, 1992. . Volume III: Writings, 1935–1947. Edited by Richard Taylor. Translated by William Powell. London: BFI, 1996. . Volume IV: Beyond the Stars. The Memoirs of Sergei Eisenstein. Edited by Richard Taylor. Translated by William Powell. London: BFI, 1995. Eizenshtein, Sergei. Memuary. Edited by Naum Kleiman. 2 vols. Moskva: “Trud” and Muzei kino, 1997. . Metod. Edited by Naum Kleiman. 2 vols. Moskva: Muzei kino, 2002. . Montazh. Tom 1. Moskva: VGIK, 1998. . Montazh. Tom 2. Moskva: Muzei kino, 2000. . Psikhologicheskie voprosy iskusstva. Moskva: Smysl, 2002. secondary sources on sergei eisenstein Albera, François. “Eisenstein and the Theory of the Photogram.” In Eisenstein Rediscovered, edited by Ian Christie and Richard Taylor. London: Routledge, 1993. . Eisenstein et le constructivisme russe: Dramaturgie de la forme. Lausanne: L’Age d’homme, 1990. Aumont, Jacques. Montage Eisenstein. Translated by Lee Hildreth, Constance Penley, and Andrew Ross. Bloomington: Indiana University Press, 1987. Barna, Yon. Eisenstein. Bloomington: Indiana University Press, 1973. Bordwell, David. The Cinema of Eisenstein. Cambridge, MA: Harvard University Press, 1993. . “Eisenstein’s Epistemological Shift.” Screen 15, no. 4 (Winter 1974/75): 29–46. 197
. “Eisenstein’s Epistemology: A Response.” Screen 16 (Spring 1975): 142–43. Britton, Andrew. “Sexuality and Power or the Two Others.” Pt. 1. Framework 6 (Autumn 1977). Bulgakowa, Oksana.“The Evolving Eisenstein.” In Eisenstein at 100: A Reconsideration, edited by Al LaValley and Barry P. Scherr. New Brunswick: Rutgers University Press, 1991. . Sergei Eisenstein: A Biography. Berlin: Potemkin Press, 2001. Conio, Gerard. Serguei Mikhailovitch Eisentein MLB: Prolongee dans le sein maternel. Paris: Editions Hoebeke, 1999. Debroise, Olivier. “Sergei Mikhailovich Eisenstein: México e yo.” Unpublished manuscript. . “Una incommunicabile delicidad: Los debujos eroticos de Sergei Eisenstein.” In XXIII Coloquio Internacional de Historia del Arte: El amor y el desamor en las arte. Instituto de Investigaciones Estéticas, UNAM, 2000. Geduld, Harry M., and Ronald Gottesman, eds. The Making and Unmaking of “Que Viva México! ” Bloomington: Indiana University Press, 1970. Gillespie, David. “Sergei Eisenstein: The Mytho-Poetics of Revolution.” Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallfl ower, 2000. Goodwin, James. Eisenstein, Cinema, and History. Urbana: University of Illinois Press, 1993. Hershfi eld, Joanne. Mexican Cinema/Mexican Woman, 1940–1950. Wilmington, DE: SR Books, 1996. . “Paradise Regained: Sergei Eisenstein’s Que Viva México! as Ethnography.” In Documenting the Documentary: Close Readings of Documentary Film and Video, edited by Barry Keith Grant and Jeanette Sloniowski. Detroit: Wayne University Press, 1998. Iampolskii, Mikhail. “Eizenshteinvskii sintez.” In Uskol’zaiushchii kontekst: Russkaia fi losofi ia v postsovetskikh usloviiakh. Moskva: Ad Marginem, 2002. . “The Essential Bone Structure: Mimesis in Eisenstein.” In Eisenstein Rediscovered: Soviet Cinema of the ’20s and ’30s, edited by Ian Christie and Richard Taylor. London: Routledge, 1993. . “The Invisible Text as a Universal Equivalent: Sergei Eisenstein.” In The Memory of Tiresias: Intertextuality and Film, translated by Harsha Ram. Berkeley: University of California Press, 1998. .“ ‘Organicheskaia mashina’ u Eizenshteina i Disneiia.” Kinovedcheskie zapiski 34 (1997). . “Slepoe risovanie.” In O blizkom. Moskva: NLO, 2000. . “Sublimatsiya kak formoobrazovanie.” Kinovedcheskie zapiski 43 (1999). Iurenev, Rastislav. Eizenshtein: Zamysly. Fil’my. Metod. Vol. 2, 1930–1948. Moskva: Isskustvo, 1985. . “Eizenshtein o montazhe.” In Montazh, by Sergei Eizenshtein. Moskva: VGIK, 1998. , ed. Eizenshtein v vospominaniiah sovremennikov. Moskva: Isskusstvo, 1982. . Sergei Eizenshtein: 1898–1929. Moskva: Iskusstvo, 1985. . “Tragediia Bezhina luga.” In Kino: Metodologicheskie issledovaniia, edited by V. M. Murian. Moskva: VGIK, 2001. 198 : bibliography
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IN EXCESS
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Masha Salazkina is assistant profes
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CONTENTS 1 2 3 4 Acknowledgments :
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Kern, Ilya Kliger, Brendan Moran, E
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which rearranges the material to cr
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Two books that deal with Eisenstein
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twentieth century modernism.” I w
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question, shared by all the authors
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dangerously close to Socialist real
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Trying to fi nd internal correspond
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etween roles), who either literally
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To this list of similarities I woul
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As a result of its revolution, Mexi
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of baroque excess and imagery to hi
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in a postrevolutionary Mexican disc
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the cultural ideology of postrevolu
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cultural relativism in anthropology
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vasconcelos and the arts: montenegr
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Figure 1. Diego Rivera, Portrait of
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and didactic application. Although
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young picador and his adulterous af
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twelve volumes of Frazer’s The Go
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static shots, this material lends i
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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
Page 157 and 158: epresentation of death in the fi lm
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Page 161 and 162: fi lms, however, particularly Potem
Page 163 and 164: various commodities of the modern e
Page 165 and 166: aroque artists employed the allegor
Page 167 and 168: of natural time; but it also stands
Page 169 and 170: “the principle” (or, later, “
Page 171 and 172: sector can neither absorb completel
Page 173 and 174: striking as it was in the period be
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Page 177 and 178: Figure 35. Image from the “Epilog
Page 179 and 180: had located in the mechanization of
Page 181 and 182: only sees the corpse from the outsi
Page 183 and 184: In a similar leap, allegedly, he tr
Page 185 and 186: Figure 40. Frida Kahlo, Girl with D
Page 187 and 188: which he kept as a “souvenir” i
Page 189 and 190: attempts to comfort, papering over
Page 192 and 193: NOTES introduction 1. In 1950, Kenn
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Page 196 and 197: particular did research on orally b
Page 198 and 199: 27. We will return to this observat
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Page 202 and 203: 40. Katherine Anne Porter, The Coll
Page 204 and 205: chapter four 1. Geduld and Gottesma
Page 206 and 207: Mexico, 1923-1940 (Valencia: IVAM C
Page 210 and 211: Ivanov, Viacheslav. Ocherki po isto
Page 212 and 213: Beltran, Neftali. Poesia. México:
Page 214 and 215: Hanssen, Beatrice. Walter Benjamin
Page 216: Trexler, Richard. Sex and Conquest:
Page 219 and 220: aroque aesthetic (cont.) Viva Méxi
Page 221 and 222: death (cont.) Mexico, 145; spectacl
Page 223 and 224: “Epilogue” (cont.) focus, 144;
Page 225 and 226: jicaras, 44-45 Jiménez, Agustin, 1
Page 227 and 228: modernism (cont.) 149; fascination
Page 229 and 230: “Psychology of Composition” (Ei
Page 231 and 232: Strike, 6, 51, 100, 102, 107 “sup
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