In Excess: Sergei Eisentein's Mexico - Cineclub

Saldívar, Julio, 109
“Sandunga,” 33, 53, 54–56; and acquisition
of value, 69; association of
women with the primitive, 76–78;
centrality of women, 56; challenges
to realism and authenticity
of footage, 64; Christian trope of
peaceful coexistence of animals
and humans, 64; close reading,
64–66; co-presence of different epochs
within Mexico, 62; dance and
song, 63; documentary qualities,
56, 63–64; female protagonists as
abstractions, 65, 88; focus on moving
fi gures, 59–60; image from, 80;
images of water intertwined with
theme of creation, 57; intertextual
connection with Rivera’s SEP murals,
71, 84–85, 87; medium closeups
of Tehuanas, 60; ornate décor,
65, 66; primitive as utopian, 57,
64–65, 72–74; and return to mother’s
womb, 69–72; and Rivera’s art,
86; tensions between abstract and
historic, 62
San Ildefonso College, 28
Santa Maria la Redonda cabarets,
Mexico City, 172
Schlegel, Karl Wilhelm Friedrich, 147
Screen, 9
(self-)mutilation, 175
Seton, Marie, 1, 105, 106, 118, 119–20
sexual difference, repression of, 13, 172
Sexual Life of Savages in North Western
Melanesia, The (Malinowski), 8
Shevchenko, Alexander, 183n31
“Shift to the Biological Level” (Eisenstein),
126
Shklovsky, Victor, 6, 83, 96, 165
Shohat, 56
Shtraukh, Maxim, 43, 98
Shub, Esfi r, 106
Simmel, Georg, 169
Sinclair, Mary Craig, 1
Sinclair, Upton, 1, 3, 29, 54, 90, 191n56
Sindicato de Obreros Téchnicos,
Pintores y Escultores (The Union
of Workers, Painters and Sculptors),
82
Siqueiros, David Alfaro: The Burial of
a Sacrifi ced Worker (a.k.a. The Death
of a Sacrifi ced Worker), 19, 36–37,
49, 51–53; and Eisenstein, 51–52;
Entierro de un obrero, 50; mural
painting, 23, 52, 82; political exile,
51; and Posada, 141; and state mural
projects, 28
skeleton image, 158
skull: allegorical representation
of creative process, 44, 156–59;
Benjamin’s image of, 154, 155–56,
161; Eisenstein’s image of, 147, 154,
161; sign of non-Western cultural
otherness, 173
“Soldadera,” 33
Soviet agitprop, 24
Soviet art: avant-garde art, 4, 5, 16,
182n29; impression left by Mexico
on, 14; representation of women
in, 83; Stalinist aestheticization of
the political, 97; Stalinist Socialist
realist style, 165
Soviet cinema, roots in mass spectacles,
95
Soviet futurists, 141, 183n31, 187n41
Soviet Ministry of Cinema, 1
Soviet Union: culture of the 1920s and
1930s, 95
Spaniards, European criollo culture,
24
Spanish baroque, 147
Spanish conquistadores, 146
spectacle: and death, 102; historical,
67–68; public, 95, 97
spiral, 32, 167
Spiral Book, 141
Stalin, Josef, 176
Stam, Robert, 56
Stenmetz, Leon, 4
Stern, Seymour, 52, 77, 120
Stewart, Garrett, 7, 8
stigmata, 124
index : 219