In Excess: Sergei Eisentein's Mexico - Cineclub

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Ivanov, Viacheslav. Ocherki po istorii semiotiki v SSSR. Moskva: Nauka, 1976. . “Problema iskusstva po Eizenshteinu i bakhtinskii karnival.” In Close-Up: Istoriko-teoreticheskii seminar vo VGIKe: Lektsii 1996–1998 gody, edited by Aleksandr Troshin. Moskva: VGIK, 1999. Karetnikova, Inga, and Leon Steinmetz. Mexico According to Eisenstein. Albuquerque: New Mexico University Press, 1991. Kinovedcheskie zapiski 36/37 (1997–98). Special double issue on Sergei Eisenstein. Kleiman, Naum. “Arguments and Ancestors.” In Eisenstein Rediscovered, edited by Ian Christie. London: Routledge, 1993. . “Problema Eizenshteina.” In Metod. Kniga I, by Sergei Eizenshtein. Moskva: Muzei kino, Eizenshtein-tsentr, 2002. Lary, Nikita. “Viktor Shklovsky: The Good and Awkward Friend.” In Eisenstein at 100: A Reconsideration, edited by Al LaValley and Barry P. Scherr. New Brunswick: Rutgers University Press, 1991. LaValley, Al, and Barry P. Scherr, eds. Eisenstein at 100: A Reconsideration. New Brunswick: Rutgers University Press, 1991. Leyda, Jay, ed. Eisenstein 2: A Premature Celebration of Eisenstein’s Centenary. Calcutta: Seagull Books, 1985. Lovgren, Hakan. “Eisenstein’s Labyrinth: Aspects of a Cinematic Synthesis of the Arts.” Stockholm Studies in Russian Literature, 31. Stockholm: Alquist & Wiksell, 1996. Michelson, Annette. “On Reading Deren’s Notebook.” October 14 (Fall 1989). . “Reading Eisenstein Reading Capital.” October 2 (1976): 27–38. . “Reading Eisenstein Reading Ulysses: Montage and the Claims of Subjectivity.” Art & Text 34 (1989): 64–78. . “A World Embodied in the Dancing Line.” October 96 (Spring 2001): 3. Nesbet, Anne. “Ivan the Terrible and ‘The Juncture of Beginning and End.’” In Eisenstein at 100: a Reconsideration, edited by Al LaValley and Barry P. Scherr. New Brunswick: Rutgers University Press, 1991. . Savage Junctures: Sergei Eisenstein and the Shape of Thinking. London: I. B. Tauris, 2003. Neuberger, Joan. Ivan the Terrible. London: I. B. Tauris, 2003. Podalsky, Laura. “Patterns of the Primitive. Sergei Eistenstein’s Que Viva Mexico!” In Mediating Two Worlds: Cinematic Encounters in the Americas, edited by John King, Ana López, and Manuel Alvarado. London: BFI Publishing, 1993. Ropars, Marie-Claire. “The Function of Metaphor in Eisenstein’s October,” Film Criticism 2–3 (Winter–Spring 1978): 10–34. Seton, Marie. Sergei Eisenstein: The Defi nitive Biography. New York: Grove Press, 1960. Shklovskii, Viktor. Eizenshtein. Moscow: Iskusstvo, 1976. Sorlin, Pierre, and Marie-Claire Ropars. Octobre: Ecriture et Ideologie. Paris: Editiones Albatross, 1976. Thompson, Kristin. “Eisenstein’s Early Films Abroad.” In Eisenstein Rediscovered, edited by Ian Christie and Richard Taylor. London: Routledge, 1993. . Eisenstein’s “Ivan the Terrible”: A Neoformalist Analysis. Princeton: Princeton University Press, 1981. bibliography : 199
Tsivian, Yuri. “Between the Old and the New: Soviet Film Culture in 1918–1924.” Griffi thiana 55/56 (1996): 15–63. . “‘Bisex’ kak tema i kak khudozhestvennyi priem: K sisteme obrazov v Ivane Groznom Eizenshteina.” Tynianovskii sbornik 11 (2002): 730–47. . “Eisenstein and Russian Symbolist Culture: An Unknown Script of October.” In Eisenstein Rediscovered, edited by Ian Christie and Richard Taylor. London: Routledge, 1993. . Ivan the Terrible. London: BFI Publishing, 2002. Tyler, Parker. Screening the Sexes: Homosexuality in the Movies. New York: Holt, Rinehart, and Winston, 1972. Vega Alfaro, Eduardo de la. Del muro a la pantalla: S. M. Eisenstein y el arte pictórico mexicano. México: Universidad de Guadalajara, Instituto Mexiquense de Cultura y Instituto Mexicano de Cinematografía, 1997. Wollen, Peter. “Art in Revolution.” Studio International (April 1971). . “Eisenstein: Cinema and the Avant Garde.” Art International 12, no. 9 (November 1968). Zholkovsky, Alexander. “Generative Poetics in the Writing of Eisenstein.” In Film Theory and General Semiotics, edited by Ann Shukman. Oxford: Russian Poetics in Translation, 1981. . “Poetika Eizenshteina—dialogicheskaia ili totalitarnaia.” Kinovedcheskie zapiski 16 (1992): 118–39. other works Aguilar Rivera, José Antonio. The Shadow of Ulysses: Public Intellectual Exchange across the U.S.-Mexico Border. New York: Lexington Books, 2000. Aldrich, Charles Roberts. The Primitive Mind and Modern Civilization. New York: Routledge, 1999. Anderson, Perry. “Modernity and Revolution.” New Left Review 144 (March–April 1984): 96–113. Azuela de la Cueva, Alicia. Arte y poder: Renacimiento artistico y revolucion social. Mexico 1910–1945. México: El Colegio de Michoacan, Fondo de Cultura Economica, 2005. . “Idols Behind Altars: Cornerstone of the Mexican Artistic Renaissance.” Monsivais (2007): 154–61. Báez-Jorge, Félix. La Afrodita Barbuda: Literatura y plástica en la perspectiva antropológica. México: Fondas Nuevas, 1998. Barckhousen-Canale, Christiane. Verdad y Leyenda de Tina Modotti. La Habana: Casa de las Americas, 1989. Beals, Carleton. Brimstone and Chili: A Book of Personal Experiences in the Southwest and in Mexico. New York: Knopf, 1927. . Glass Houses: Ten Years of Free-Lancing. Philadelphia: J. B. Lippincott, 1938. . Mexican Maze. N.p.: Book League of America, 1931. Bellour, Raymond. The Analysis of Film. Bloomington: Indiana University Press, 2000. Belton, Robert. The Beribboned Bomb: The Image of Women in Male Surrealist Art. Calgary: University of Calgary Press, 1995. 200 : 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
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epresentation of death in the fi lm
Page 159 and 160: search of a form of resistance to v
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
Page 175 and 176: cement to sell and happened to comm
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
Page 194 and 195: very moments in cultural history—
Page 196 and 197: particular did research on orally b
Page 198 and 199: 27. We will return to this observat
Page 200 and 201: horses. Here the revolutionary idea
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 208 and 209: BIBLIOGRAPHY works by sergei eisens
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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