Gogol, Nikolai, 125 Golden Bough, The (Frazer), 8, 36, 41, 126 Goncharova, Natalia, 29 Goodwin, James, 38 Gosfi lmofond Archives, 2 Gosudarstyennyi <strong>In</strong>stitut Kinimatografi i (GIK), 1 “graphic grammar,” 31 “Grigori Alexandrov on a beach in <strong>Mexico</strong>,” 131 Gruening, Ernest, 81, 82 Grundproblem, 3 Guerrero, Xavier, 82, 112, 125 Guggenheim grants, 110, 111 Gunning, Tom, 5, 95–96 Haberman, Thorberg, 112 “Hacienda” (Porter), 20, 113–16 hacienda Tetlapayac, 108, 109–10 Hansen, Miriam, 5, 6, 8, 150 Harbison, Robert, 92 Hegel, G. W. F., 128 Heidegger, Martin, 86 Helprin, Morris, 77 Henry Ford Hospital or The Flying Bed (Kahlo), 176 Hershfi eld, Joanne, 56 historical authenticity: search for, 60–61; and sexuality, 68 historical dialectics, 16, 124 historical evolutionism, 17 historical spectacle, 67–68 history: and allegory, 162–63; anxiety of, 76; fetishization of, 66, 69; mythological construction of, 17, 53; organic continuity of, 60; relation to biological time, 128; relation to time, 128 Hitler, Adolf, 159 Hollywood cinema, and avant-garde modernism, 5–6 homoeroticism, 19, 20; association of St. Sebastian with, 122; and baroque excess, 148; and trauma of Eisenstein’s sexual difference, 178 homosexuality: in ancient <strong>Mexico</strong>, 125; and the bullfi ght, 102 huicholes, 125 Humboldt, Alexander von, 36 Huyssen, Andreas, 6 hybridity, 83, 190n27 Iampolskii, Mikhail, 9, 10, 37, 132, 156, 158, 165 identity: “hybrid,” 83; as a matter of disguise, 128. See also national identity ideology: ethos as function of, 148; of Mexican postrevolutionary state, 18, 19, 22, 31 Idols Behind Altars (Brenner), 23, 35, 41–42, 78, 82, 91, 105, 141 image, duration of, 38 <strong>In</strong>dian Baroque, 105 indigenismo: central to Mexican revolutionary national identity, 17, 19, 23–24, 26, 63, 72; and the criollo, 105; permanence of behind Spanish colonial customs, 91; and trans- Atlantic anthropology of early twentieth century, 27 indigenous art: as expression of authentic cultural identity and basis for unity, 26; and Mexican mural project, 19 indigenous mortuary celebrations, 146 individual consciousness, 128 infantilism, and protoplasm, 128 <strong>In</strong>stitutional Revolutionary Party (PRI), 159 <strong>In</strong>ternational School of Archeology, 27 Isthmus of Tehuantepec, 57 Italian Renaissance, 16 Itzamana, principle of opposites, 43 Ivan the Terrible (Eisenstein), 9, 12, 13, 38, 52, 146 Izquierdo, Maria, 78 Jalisco, 130 Jesuits, 146, 149 index : 213
jicaras, 44–45 Jiménez, Agustin, 15, 20, 164, 165, 167, 172, 195n64 Jünger, Ernst, 159 Kahlo, Frida, 15, 20, 77; cult of, 74; Girl with Death Mask, 173–76, 174; interest in murals, 78; “mask” of indigenousness, 175; miscarriages, 176; mutilation, 175; relationships with Diego Rivera and Leon Trotsky, 175; and search for national identity, 61; self-portrait as a Tehuana, 63; self-portraits and photographs of, 58 Kandinsky, Wassily, 32 Karetnikova, <strong>In</strong>ga, 4 Kimbrough, Hunter, 29, 33, 54, 88, 89, 90, 101, 111, 130 Klages, Ludwig, 159 Kleiman, Naum, 2, 3, 152–53 Kollontai, Alexandra, 80–81, 82, 83, 112 Kolnische Illustrierte, 23 Kovalov, Oleg, 1–2, 163 La Adelita, 33 Lacan, Jacques, 104 La <strong>In</strong>dia Bonita (The Pretty <strong>In</strong>dian), 25 La liberación del peón (Death of the Peon) (Rivera), 51 La Malinche, 192n66 Lambert, Gregg, 93 La Mentalité Primitive (Levy-Bruhl), 34, 35 Larionov, Mikhail, 29 La Secretaria de Educación Pública (SEP), 31, 51, 57 Lasky, Jesse, 1 “Las Malinches,” 126 Latin American baroque, and the culture of modernity, 148–50 laughter: at death, 169; nature of, 168 La Virgen de los Remedios, Cholula, Puebla, 105 “law of participation,” Levy-Bruhl, 35 Lawrence, D. H., 24, 112, 145, 190n22 214 : index Ledesma, Gabriel Fernández, 33, 107–8, 110 Left Art (LEF) movement, 103 Leiva, Agustín Aragón, 32, 77, 115 Lenin, Vladimir, 73 Leninist School, 82 Les Demoiselles d’Avignon (Picasso), 174 Lesser, Sol, 1 Levy-Bruhl, Lucien, 22, 34, 35, 73, 193n22 Leyda, Jay, 1, 2, 49, 118, 163 libido, 128 Liceaga, David, 98, 99, 100 life, impermanence of, 161–62 “los tres grandes,” 82 “Los vehículos de la pintura dialéctico-subversiva” (Siqueiros), 51–52 Lowry, Malcolm, 145 lubok, 141, 142 Lunacharsky, Anatoly, 28, 183n7 Luria, A. R., 184n30 Magiia Iskusstya, 103 “Maguey,” 99; death as religious mystery and as a political event, 120; death of Sebastian, 118–20; Eisenstein’s treatment of actors during fi lming, 107–9; fellatio, 122; femininity in, 97, 110, 116–20; fetishization of male body, 122; images from, 118, 122; images of saints and martyrs and primitive sacrifi cial rites, 117, 121; motifs of punctures and wounds, 121–22; representation of Maguey Plant, 114; revolt of peons, 106; sadism and cruelty, 104; traditional narrative structure, 89, 91, 107–11; triangular composition, 119–20 maguey, cultural history of, 118 The Making and Unmaking of “¡Que Viva <strong>Mexico</strong>!” (Geduld and Gottesman), 4 male body, fetishism and aestheticization of, 90, 122 Malinowsky, Bronislaw, 26
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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
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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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