In Excess: Sergei Eisentein's Mexico - Cineclub

aroque aesthetic (cont.)
Viva México!, 3, 92–97; and radical
reorganization of the social sphere,
147; as the subconscious, 133; and
trauma of Eisenstein’s sexual difference,
178
Barr, Alfred, Jr., 22
Bartra, Roger, 190n27
Baudelaire, Charles, 151, 155, 169–70
Bazin, André, 11, 193n10
Beals, Carleton, 81, 110, 141
Beardsley, Aubrey, 28
Beatty, Bessie, 111
Becker, Lutz, 2
becoming, state of, 103, 104, 106, 124
Bed and Sofa (Tretya meshchanskaia), 83
Bellour, Raymond, 3, 11
Beloff, Angelina, 29
Belton, Robert, 188n46
Beltran, Neftali, 145
Benjamin, Walter, 5, 20; as aid to
understanding Eisenstein, 149; and
allegorical mode, 154–56, 161; and
the baroque, 150–54; challenge to
division of male and female, 169;
and Fascist use of myth vs. progressive
mythical thinking, 159;
fossil metaphor, 152; and Marx,
162; model for true change, 150–51;
notion of dialectical image, 139; and
notion of “eternal recurrence,” 151,
193n22; prehistory as prelogical or
sensual thinking, 152; prehistory in
everyday objects, 151; relation between
allegory and history, 162–63;
on the Romantic philosophy of the
symbol, 166; skull image, 155–56, 161
berdaches, 125–26
Bergson, Henri, 167–68
Best Maugard, Adolfo: books aligning
arts education with nationalistic
program, 31; consultant to Eisenstein
and his crew, 19, 29; contemporaries’
view of role in Eisenstein’s fi lm,
32–33; and discourse on Mexican
postrevolutionary state ideology, 18,
208 : index
22; and exhibits of Mexican popular
art, 29; at hacienda Tetlapayac,
111, 116; linking of biological and
cultural, 34; and Mexican cabarets,
172; and “movement for Mexican
art,” 28; and Porter, 112; primary
elements of plastic arts, 31–32; and
Russian and Soviet art, 29; shooting
in Tehuantepec, 88; student of Boas,
29, 34; theory of geometrical shapes,
119; on traditional art, 57–58; and
the universal, 61; and Vasconcelos’s
ideology, 25, 27
Bezbin Meadow (Bezbin Lug), 2, 19, 38,
49, 84, 185n48
biological time, relation to history, 128
bisexuality (“bi-sex”), 13, 90, 125, 126,
128, 129, 178
Blanqui, Louis Auguste, 193n22
Boas, Franz, 19; analysis of Teotihuacan
ruins, 31; archeological digs, 23,
41; cultural relativism, 23, 34, 177;
and folklore, 23
body: male, aestheticization of, 90, 122;
as mediating between individual and
collective historical experience, 7
Bordwell, David, 9, 10, 168
Boytler, Arkady, 110
Bravo, Manuel Alvarez, 164, 165
Brenner, Anita, 27; and Alma Reed, 51;
as Boas’s student, 34, 42; concept of
“hybrid identity,” 83; and Eisenstein’s
article for Creative Art, 85,
122; Eisenstein’s dialogue with,
42–43; Eisenstein’s intellectual
interlocutor, 81–84; Idols Behind
Altars, 23, 26, 41, 78; importance
in cultural scene of Mexico, 42;
impressions of Eisenstein, 129;
and “Mexican Renaissance,” 28,
35; primitive indigenous culture
and the criollo, 105; promotion of
Mexican arts, 29
Bribiesca, Bibiana, 25
Bronenosets Potemkin/Battleship Potemkin
(Eisenstein), 13, 150