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In Excess: Sergei Eisentein's Mexico - Cineclub

In Excess: Sergei Eisentein's Mexico - Cineclub

Masha Salazkina is

Masha Salazkina is assistant professor of Russian and fi lm and media studies at Colgate University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2009 by The University of Chicago All rights reserved. Published 2009 Printed in the United States of America 18 17 16 15 14 13 12 11 10 09 1 2 3 4 5 isbn-13: 978-0-226-73414-9 (cloth) isbn-10: 0-226-73414-5 (cloth) Library of Congress Cataloging-in-Publication Data Salazkina, Masha. In excess : Sergei Eisenstein’s Mexico / Masha Salazkina. p. cm. Includes bibliographical references and index. isbn-13: 978-0-226-73414-9 (cloth : alk. paper) isbn-10: 0-226-73414-5 (cloth : alk. paper) 1. Que viva Mexico (Motion picture) 2. Eisenstein, Sergei, 1898–1948. I. Title. pn1997 .q37s25 2009 791.43—dc22 2008032583 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ansi z39.48-1992.

  • Page 2 and 3: IN EXCESS
  • Page 6: In memory of Olivier Debroise
  • Page 10 and 11: ACKNOWLEDGMENTS I was extremely for
  • Page 12 and 13: INTRODUCTION In December of 1930, a
  • Page 14 and 15: director of the Moscow Cinema Museu
  • Page 16 and 17: phenomena. At the horizon of this p
  • Page 18 and 19: To understand the function of the a
  • Page 20 and 21: fi lmic issues in Eisenstein’s th
  • Page 22 and 23: fi lmmaking itself has been famousl
  • Page 24 and 25: work, Eisenstein’s apparent repre
  • Page 26 and 27: that preoccupied the artistic and p
  • Page 28 and 29: (and gender in general) that has se
  • Page 30 and 31: ought with them the hopes and disap
  • Page 32 and 33: 1 ------------- EISENSTEIN’S ¡QU
  • Page 34 and 35: Upon seeing Rivera’s work, Eisens
  • Page 36 and 37: assigned a special civilizing missi
  • Page 38 and 39: who, as we have seen with Gamio, re
  • Page 40 and 41: helped Katherine Anne Porter and Ad
  • Page 42 and 43: of Drawing and Manual Work (Departa
  • Page 44 and 45: Leiva, who was Best Maugard’s ass
  • Page 46 and 47: Levy-Bruhl theorized that primitive
  • Page 48 and 49: 1930s . . . discontinuity, fragment
  • Page 50 and 51: Figure 2. Image from the “Prologu
  • Page 52 and 53: construction of shots with those of
  • Page 54 and 55:

    Mexico. It is evident that the choi

  • Page 56 and 57:

    Figure 4. Xochipilli. Olivier Debro

  • Page 58 and 59:

    Figure 6. Sergei M. Eisenstein and

  • Page 60 and 61:

    temporality and therefore becomes a

  • Page 62 and 63:

    the death of a sacrificed worker Th

  • Page 64 and 65:

    would also remain largely inaccessi

  • Page 66 and 67:

    Figure 10. Eduard Tisse in Tehuante

  • Page 68 and 69:

    the indigenous heritage of Mexico,

  • Page 70 and 71:

    Figure 12. Diego Rivera, Fiesta Teh

  • Page 72 and 73:

    This process “where contestations

  • Page 74 and 75:

    “sandunga”: documentary qualiti

  • Page 76 and 77:

    Figure 13. Image from “Sandunga.

  • Page 78 and 79:

    Figure 14. Sergei M. Eisenstein and

  • Page 80 and 81:

    At the same time, according to this

  • Page 82 and 83:

    in his own recollections. We can th

  • Page 84 and 85:

    and its function in Soviet art, and

  • Page 86 and 87:

    Anderson’s take on modernism, 34

  • Page 88 and 89:

    women in mexico This attention to w

  • Page 90 and 91:

    Figure 15. Tina Modotti, “Woman f

  • Page 92 and 93:

    “Mata Haris” of the revolutiona

  • Page 94 and 95:

    thus that Eisenstein’s visit to M

  • Page 96 and 97:

    And, fi nally, the Chapingo Chapel

  • Page 98 and 99:

    linear way,” fi nding a release o

  • Page 100 and 101:

    and “Maguey”—that real histor

  • Page 102 and 103:

    The material for the fi lm’s seco

  • Page 104 and 105:

    Figure 19. Sergei Esenstein and Edu

  • Page 106 and 107:

    Mexico and in relation to his fi lm

  • Page 108 and 109:

    Eisenstein’s appropriation of the

  • Page 110 and 111:

    in very long takes, very uncharacte

  • Page 112 and 113:

    Figure 21. Eduard Tisse, Sergei Eis

  • Page 114 and 115:

    these instances of mimicry of natur

  • Page 116 and 117:

    strangle a live turkey—there are

  • Page 118 and 119:

    an explicit link between states of

  • Page 120 and 121:

    this event in his journal in shocki

  • Page 122 and 123:

    and Adolfo Best Maugard, visited ha

  • Page 124 and 125:

    visit to Tetlapayac, where Eisenste

  • Page 126 and 127:

    The narrator of Porter’s story st

  • Page 128 and 129:

    is the real climax of the episode,

  • Page 130 and 131:

    “Maguey” were to be intercut wi

  • Page 132 and 133:

    suffering on the cross is imitated

  • Page 134 and 135:

    The experience of the dialectical p

  • Page 136 and 137:

    nondifferentiated primary matter, c

  • Page 138 and 139:

    Figure 28. Eisenstein as a Mexican

  • Page 140 and 141:

    the dialectical experience on the s

  • Page 142 and 143:

    Figure 29. Photo caption reads “G

  • Page 144 and 145:

    etween the development of different

  • Page 146 and 147:

    dialectical insight,” as he state

  • Page 148 and 149:

    thing from which I suffer is a sick

  • Page 150 and 151:

    4 ------------- THE “ EPILOGUE”

  • Page 152 and 153:

    Eisenstein evidently decided to div

  • Page 154 and 155:

    of violence and peace. This is the

  • Page 156 and 157:

    The image of the mask is operationa

  • Page 158 and 159:

    In the baroque tradition, death is

  • Page 160 and 161:

    earlier ideologies and cultures, as

  • Page 162 and 163:

    change can emerge. It is through a

  • Page 164 and 165:

    was to be reborn on a new level in

  • Page 166 and 167:

    which Benjamin, citing Baudelaire,

  • Page 168 and 169:

    Figure 33. Image from “Fiesta.”

  • Page 170 and 171:

    that is mainly fi gurative and poet

  • Page 172 and 173:

    shots of the “Prologue,” the co

  • Page 174 and 175:

    arbitrarily for the ideas they had

  • Page 176 and 177:

    Eisenstein and crew’s visit to th

  • Page 178 and 179:

    Figure 36. Agustín Jiménez with S

  • Page 180 and 181:

    similarity of the external expressi

  • Page 182 and 183:

    Figure 37. Sergei Eisenstein and Ed

  • Page 184 and 185:

    Figure 39. Image from the “Epilog

  • Page 186 and 187:

    ultimately, very autobiographical,

  • Page 188 and 189:

    1920s and 1930s that were produced

  • Page 190:

    aspirations ultimately failed, if t

  • Page 193 and 194:

    Image (London: Reaktion Books, 2006

  • Page 195 and 196:

    See John Ochoa, “Jose Vasconcelos

  • Page 197 and 198:

    chapter two 1. Quoted in Geduld and

  • Page 199 and 200:

    came from—preceding the Hollywood

  • Page 201 and 202:

    22. It is possible that the scene o

  • Page 203 and 204:

    66. Alfonso Ichon, La religión de

  • Page 205 and 206:

    of the same—that the new is alway

  • Page 207 and 208:

    69. As Vilashini Cooppan discusses

  • Page 209 and 210:

    . “Eisenstein’s Epistemology: A

  • Page 211 and 212:

    Tsivian, Yuri. “Between the Old a

  • Page 213 and 214:

    Covarrubias, Miguel. Mexico South:

  • Page 215 and 216:

    . Visual and Other Pleasures. Bloom

  • Page 218 and 219:

    INDEX Page numbers in italics refer

  • Page 220 and 221:

    Buber, Martin, 86 Buci-Glucksmann,

  • Page 222 and 223:

    Mexican mythology, 41-43, 93-94, 15

  • Page 224 and 225:

    Gogol, Nikolai, 125 Golden Bough, T

  • Page 226 and 227:

    Maravall, José Antonio, 93, 147 Ma

  • Page 228 and 229:

    On the Origins of the German Baroqu

  • Page 230 and 231:

    Saldívar, Julio, 109 “Sandunga,

  • Page 232:

    Wasteland, The (Eliot), 177 Weimar-

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