In Excess: Sergei Eisentein's Mexico - Cineclub

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Wasteland, The (Eliot), 177 Weimar-period Berlin cabaret scene, 172 Weininger, Otto, 169 Weston, Edward, 26, 42, 78, 80, 82 Whitechapel exhibition, 15, 78 Wolf, Bertram, 27, 82 Wolf, Ella, 27, 82 Wolin, Richard, 151, 160, 166 Wollen, Peter, 15, 16, 74, 78, 192n82 “Woman from Tehuantepec” (Modotti), 79 “woman question,” 14 womb, return to: and artistic creation, 56, 70; and prelogical thinking, 12 womb and tomb, link between, 44, 106 women: association with death, 40–41, 44; link between radical politics and return to presymbolic unity, 19; link to premodern originary state, 13, 17; as original mode of production, 71; and shaping of Mexican cultural history of 1920s and 1930s, 77–78; in Soviet art, 83; Tehuana women, 57, 58–59 women’s movement, 76; fear of female subjectivity provoked by, 69; in <strong>Mexico</strong>, 77, 83; in Soviet Union, 77 Women’s Party, 112 “Work of Art in the Age of Mechanical Reproduction, The” (Benjamin), 150 Xochimilco, 91 Xochipilli, 45 Your Mexican Holiday (Brenner), 82, 163–64 Zapata, Emiliano, 72 Zhen, Zhang, 6, 8 Zigrosser, Carl, 111 index : 221
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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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cement to sell and happened to comm
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Figure 35. Image from the “Epilog
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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
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Page 196 and 197: particular did research on orally b
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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 and 226: jicaras, 44-45 Jiménez, Agustin, 1
Page 227 and 228: modernism (cont.) 149; fascination
Page 229 and 230: “Psychology of Composition” (Ei
Page 231: Strike, 6, 51, 100, 102, 107 “sup
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In Excess: Sergei Eisentein's Mexico - Cineclub

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