In Excess: Sergei Eisentein's Mexico - Cineclub

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Maravall, José Antonio, 93, 147 Marxism, 124 materialist dialectics, 124 matriarchy, 69–70 Maya gods, uroboric and bisexual, 43 Mayakovsky, Vladimir, 22, 58, 187n41 Mead, Margaret, 8, 177 Mella, Julio Antonio, 81 Memuary (Eisenstein), 21 Mérida, 98 metamorphosis, 145 Method (Metod), 2–3, 11, 35, 103, 152, 158, 168 Method of Drawing: Tradition, Revival, and Revolution of Mexican Art (Método de Dibujo: Tradición, resurgimiento y revolución del arte mexicano), 31 Metz, Christian, 37 Mexican art: avant-garde art, 16; baroque, 92, 148; “bourgeois” representation of women, 83; infl uence on American art, 14; plastic arts, 133; uniform language for creating and articulating an image of, 31; use of ancient mythology and culture in, 41 Mexican cabarets and nightclubs, 172 Mexican Communist Party, 82, 175 Mexican culture: fusion of colonial elements with pre-Columbian, 117; history of the 1920s and 1930s, 27, 77 Mexican Fantasy, 1–2, 163 Mexican Folkways, 14, 42, 81, 112 Mexican muralists, 82, 177; and allegorical model of representation, 56; antibourgeois impulse, 25; and avant-garde cinema, 6; charge of myth-making against, 159; dominance of men in, 77; Indian as embodiment of revolutionary rupture, 72; and ¡Que Viva México!, 15, 19; use of ancient mythology and culture, 41 “Mexican Night,” 31 Mexican Picture Partnership Ltd., 2 Mexican popular theater, 143 Mexican postrevolutionary era: cultural politics and pre-Columbian mythology, 164; nationalist ideology of the state, 18, 22, 23, 27, 31; new national identity based on indigenismo or mestizofi lia, 17, 19, 23–24, 26, 63, 72; space where “otherness” fl ourished, 18 Mexican pre-Hispanic era: connection with classless society, 151–52; pre-historic gods, 41–47; prelogical, sensual thinking, 128; utopian aspect of, 150–51 Mexican project. See ¡Que Viva México! “Mexican Renaissance,” 6, 15, 22, 28, 74–76, 77, 82, 182n29 Mexican Revolution, 18; agrarian reforms, 72; cultural ideology of, 19, 23; iconography of, 142 Mexican Symphony (1941), 1 Mexico: death skulls, 147; laughter at death, 169; relationship to fi gure of death, 145; uneven development in, 75 Mexico According to Eisenstein (Karetnikova and Steinmetz), 4 Mexico and Russia, marginal position of, 16 Mexico City, 18, 98, 110–11 Mexico Tropical—Paisaje de Tebuantepec (Tropical Mexico—Landscape of Tehuantepec) (Rivera), 57 Meyerholdian theater, 102 Michel, Concha, 82 Michelson, Annette, 10 mimicry, 145 miscegenation, 23 Mistral, Gabriela, 24 Mitry, Jean, 3 “Mlb.” See womb, return to modern art: in Mexico and the Soviet Union, 15. See also avant-garde art; baroque aesthetic modernism: architectural, 163–64; and avant-garde art, 6; capitalist, index : 215
modernism (cont.) 149; fascination with “primitive,” 53, 72–74; and Hollywood cinema, 5–6; and nationalism, 8; reconception of the baroque, 177; twenties, 177 Modotti, Tina, 15, 22, 78–80, 82, 83, 112; and Kollontai, 80; and Mexican Renaissance, 77; as model for Rivera murals, 85; photographs for Idols Behind Altars, 26, 42; photographs of Tehuana women, 19, 58, 74, 79–80; search for national origins, 61 Molino Verde, 172 Monsivais, Carlos, 18 montage: and dialectical shift, 161; to reach undifferentiated state, 10; theory and practice, 5; vertical, 120 “montage of attractions” theory, 6, 95, 100, 155, 158, 170, 175 Montague, Ivor, 98 Montenegro, Roberto, 18, 22, 25, 27, 28–29, 82, 108, 111, 131, 172 monumentalism, 93 Morones, Luis Napoléon, 112 Morris, William, 26, 60 mortuary celebrations, 146 Mosse, George, 60 Mother Earth, 86 “mothers of the Mexican state,” 72 Mulvey, Laura, 15, 16, 74, 78, 100; Death 24× a Second: Stillness and the Moving Image, 7 Museo Nacional (now Museum of Anthropology), 41 Museum of Modern Art (MoMA), 1 My Art in Life, 11 My Discovery of America (Moe Otkrytie Ameriki) (Mayakovsky), 23 myth, 159–63; antithetical to historical dialectics, 160; and construction of history, 17, 53; cultural politics and, 164; dialectic synthesis with modern consciousness, 35, 130, 152; Fascist use of, 159; and Mexican muralists, 159; pre-Columbian 216 : index Mexican, 41–43, 57, 58, 93–94, 152; and transformative powers of art, 103–5 mythical circular structure of time, 36, 43, 166, 167 myth of exceptionalism, 4 Myths of Mexico and Peru, The (Spence), 41 “Nacimiento del Mar” (“The Birth of the Sea”) (Rivera), 57 Nanook of the North (Flaherty), 56 National Film and Television Archive, London, 2 National Fine Arts Institute (Instituto Nacional de Bellas Artes), 31 national identity, of postrevolutionary Mexico, 17, 23–24, 26, 63 nationalism, and modernism, 8 National Museum of Anthropology and Ethnography, 27 neobaroque. See baroque aesthetic neo-primitivism, 183n31, 183n32 Nesbet, Anne, 9, 84, 125, 195n67 Neue Sachlichkeit, 165 Neuberger, Joan, 13 New Masses, 14 New Republic, 14, 111 Newtonian time, 7 nonlinear temporalities, 5 Novo, Salvador, 111, 172, 187n41 Oaxaca, 88, 125 oceanic feeling, 106 October, 47, 66, 94, 96, 116, 190n28 October Revolution, 96 Oedipal story, 101 Old and the New, The (General’naja Liniia), 19, 76, 83, 84 Oles, James, 164 Olmecihuatl, 43 Ometecuhth, 43 “On the Concept of History” (Benjamin), 162 “On the Mimetic Faculty” (Benjamin), 160
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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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striking as it was in the period be
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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
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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 208 and 209: BIBLIOGRAPHY works by sergei eisens
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: jicaras, 44-45 Jiménez, Agustin, 1
Page 229 and 230: “Psychology of Composition” (Ei
Page 231 and 232: Strike, 6, 51, 100, 102, 107 “sup
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