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In Excess: Sergei Eisentein's Mexico - Cineclub

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Gogol, Nikolai, 125<br />

Golden Bough, The (Frazer), 8, 36, 41,<br />

126<br />

Goncharova, Natalia, 29<br />

Goodwin, James, 38<br />

Gosfi lmofond Archives, 2<br />

Gosudarstyennyi <strong>In</strong>stitut Kinimatografi<br />

i (GIK), 1<br />

“graphic grammar,” 31<br />

“Grigori Alexandrov on a beach in<br />

<strong>Mexico</strong>,” 131<br />

Gruening, Ernest, 81, 82<br />

Grundproblem, 3<br />

Guerrero, Xavier, 82, 112, 125<br />

Guggenheim grants, 110, 111<br />

Gunning, Tom, 5, 95–96<br />

Haberman, Thorberg, 112<br />

“Hacienda” (Porter), 20, 113–16<br />

hacienda Tetlapayac, 108, 109–10<br />

Hansen, Miriam, 5, 6, 8, 150<br />

Harbison, Robert, 92<br />

Hegel, G. W. F., 128<br />

Heidegger, Martin, 86<br />

Helprin, Morris, 77<br />

Henry Ford Hospital or The Flying Bed<br />

(Kahlo), 176<br />

Hershfi eld, Joanne, 56<br />

historical authenticity: search for,<br />

60–61; and sexuality, 68<br />

historical dialectics, 16, 124<br />

historical evolutionism, 17<br />

historical spectacle, 67–68<br />

history: and allegory, 162–63; anxiety<br />

of, 76; fetishization of, 66, 69;<br />

mythological construction of,<br />

17, 53; organic continuity of, 60;<br />

relation to biological time, 128;<br />

relation to time, 128<br />

Hitler, Adolf, 159<br />

Hollywood cinema, and avant-garde<br />

modernism, 5–6<br />

homoeroticism, 19, 20; association<br />

of St. Sebastian with, 122; and<br />

baroque excess, 148; and trauma of<br />

Eisenstein’s sexual difference, 178<br />

homosexuality: in ancient <strong>Mexico</strong>, 125;<br />

and the bullfi ght, 102<br />

huicholes, 125<br />

Humboldt, Alexander von, 36<br />

Huyssen, Andreas, 6<br />

hybridity, 83, 190n27<br />

Iampolskii, Mikhail, 9, 10, 37, 132, 156,<br />

158, 165<br />

identity: “hybrid,” 83; as a matter<br />

of disguise, 128. See also national<br />

identity<br />

ideology: ethos as function of, 148; of<br />

Mexican postrevolutionary state,<br />

18, 19, 22, 31<br />

Idols Behind Altars (Brenner), 23, 35,<br />

41–42, 78, 82, 91, 105, 141<br />

image, duration of, 38<br />

<strong>In</strong>dian Baroque, 105<br />

indigenismo: central to Mexican revolutionary<br />

national identity, 17, 19,<br />

23–24, 26, 63, 72; and the criollo,<br />

105; permanence of behind Spanish<br />

colonial customs, 91; and trans-<br />

Atlantic anthropology of early<br />

twentieth century, 27<br />

indigenous art: as expression of authentic<br />

cultural identity and basis<br />

for unity, 26; and Mexican mural<br />

project, 19<br />

indigenous mortuary celebrations, 146<br />

individual consciousness, 128<br />

infantilism, and protoplasm, 128<br />

<strong>In</strong>stitutional Revolutionary Party<br />

(PRI), 159<br />

<strong>In</strong>ternational School of Archeology,<br />

27<br />

Isthmus of Tehuantepec, 57<br />

Italian Renaissance, 16<br />

Itzamana, principle of opposites, 43<br />

Ivan the Terrible (Eisenstein), 9, 12, 13,<br />

38, 52, 146<br />

Izquierdo, Maria, 78<br />

Jalisco, 130<br />

Jesuits, 146, 149<br />

index : 213

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