- Page 2 and 3: IN EXCESS
- Page 5: Masha Salazkina is assistant profes
- 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
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the indigenous heritage of Mexico,
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Figure 12. Diego Rivera, Fiesta Teh
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This process “where contestations
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“sandunga”: documentary qualiti
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Figure 13. Image from “Sandunga.
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Figure 14. Sergei M. Eisenstein and
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At the same time, according to this
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in his own recollections. We can th
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and its function in Soviet art, and
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Anderson’s take on modernism, 34
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women in mexico This attention to w
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Figure 15. Tina Modotti, “Woman f
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“Mata Haris” of the revolutiona
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thus that Eisenstein’s visit to M
- Page 96 and 97:
And, fi nally, the Chapingo Chapel
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linear way,” fi nding a release o
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and “Maguey”—that real histor
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The material for the fi lm’s seco
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Figure 19. Sergei Esenstein and Edu
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Mexico and in relation to his fi lm
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Eisenstein’s appropriation of the
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in very long takes, very uncharacte
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Figure 21. Eduard Tisse, Sergei Eis
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these instances of mimicry of natur
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strangle a live turkey—there are
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an explicit link between states of
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this event in his journal in shocki
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and Adolfo Best Maugard, visited ha
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visit to Tetlapayac, where Eisenste
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The narrator of Porter’s story st
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is the real climax of the episode,
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“Maguey” were to be intercut wi
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suffering on the cross is imitated
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The experience of the dialectical p
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nondifferentiated primary matter, c
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Figure 28. Eisenstein as a Mexican
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the dialectical experience on the s
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Figure 29. Photo caption reads “G
- Page 144 and 145:
etween the development of different
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dialectical insight,” as he state
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thing from which I suffer is a sick
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4 ------------- THE “ EPILOGUE”
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Eisenstein evidently decided to div
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of violence and peace. This is the
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The image of the mask is operationa
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In the baroque tradition, death is
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earlier ideologies and cultures, as
- Page 162 and 163:
change can emerge. It is through a
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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.”
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that is mainly fi gurative and poet
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shots of the “Prologue,” the co
- Page 174 and 175:
arbitrarily for the ideas they had
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Eisenstein and crew’s visit to th
- Page 178 and 179:
Figure 36. Agustín Jiménez with S
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similarity of the external expressi
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Figure 37. Sergei Eisenstein and Ed
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Figure 39. Image from the “Epilog
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ultimately, very autobiographical,
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1920s and 1930s that were produced
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aspirations ultimately failed, if t
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Image (London: Reaktion Books, 2006
- Page 195 and 196:
See John Ochoa, “Jose Vasconcelos
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chapter two 1. Quoted in Geduld and
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came from—preceding the Hollywood
- Page 201 and 202:
22. It is possible that the scene o
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66. Alfonso Ichon, La religión de
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of the same—that the new is alway
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69. As Vilashini Cooppan discusses
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. “Eisenstein’s Epistemology: A
- Page 211 and 212:
Tsivian, Yuri. “Between the Old a
- Page 213 and 214:
Covarrubias, Miguel. Mexico South:
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. Visual and Other Pleasures. Bloom
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INDEX Page numbers in italics refer
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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
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Saldívar, Julio, 109 “Sandunga,
- Page 232:
Wasteland, The (Eliot), 177 Weimar-