- Published in print:
- 2009
- Published Online:
- March 2013
- ISBN:
- 9780226734149
- eISBN:
- 9780226734163
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226734163.003.0005
- Subject:
- Society and Culture, Latin American Studies
This chapter analyzes the baroque aesthetic in relation to Sergei Eisenstein's film ¡Que Viva Mexico!. It focuses on the allegory of the skull during the Day of the Dead as central to the narrative ...
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This chapter analyzes the baroque aesthetic in relation to Sergei Eisenstein's film ¡Que Viva Mexico!. It focuses on the allegory of the skull during the Day of the Dead as central to the narrative structure of the film. It compares Eisenstein's project with Walter Benjamin's work on the use of baroque allegory as a means to a radically dialectical construction of history.Less
This chapter analyzes the baroque aesthetic in relation to Sergei Eisenstein's film ¡Que Viva Mexico!. It focuses on the allegory of the skull during the Day of the Dead as central to the narrative structure of the film. It compares Eisenstein's project with Walter Benjamin's work on the use of baroque allegory as a means to a radically dialectical construction of history.
- Published in print:
- 2009
- Published Online:
- March 2013
- ISBN:
- 9780226734149
- eISBN:
- 9780226734163
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226734163.003.0001
- Subject:
- Society and Culture, Latin American Studies
This chapter discusses the theme of this volume which is about Sergei Eisenstein's unfinished film ¡Que Viva Mexico!. Though Eisenstein never lived to see any of his footage and never edited a single ...
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This chapter discusses the theme of this volume which is about Sergei Eisenstein's unfinished film ¡Que Viva Mexico!. Though Eisenstein never lived to see any of his footage and never edited a single sequence from it, this film became the most famous of the many projects that Eisenstein never fully realized. This volume is conceived as an investigation into the way Eisenstein's texts, the body of the unfinished film with all the materials surrounding it including scripts, notes and letters. It also argues that Eisenstein's modernist/avant-garde theories and practices embody the same qualities and partake of the same cultures, despite the difference in their respective receptions.Less
This chapter discusses the theme of this volume which is about Sergei Eisenstein's unfinished film ¡Que Viva Mexico!. Though Eisenstein never lived to see any of his footage and never edited a single sequence from it, this film became the most famous of the many projects that Eisenstein never fully realized. This volume is conceived as an investigation into the way Eisenstein's texts, the body of the unfinished film with all the materials surrounding it including scripts, notes and letters. It also argues that Eisenstein's modernist/avant-garde theories and practices embody the same qualities and partake of the same cultures, despite the difference in their respective receptions.
- Published in print:
- 2009
- Published Online:
- March 2013
- ISBN:
- 9780226734149
- eISBN:
- 9780226734163
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226734163.003.0002
- Subject:
- Society and Culture, Latin American Studies
This chapter places Sergei Eisenstein's images in relation to the anthropological discourse on Mexican postrevolutionary state ideology. It focuses on Jose Vasconcelos, Roberto Montenegro and Adolfo ...
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This chapter places Sergei Eisenstein's images in relation to the anthropological discourse on Mexican postrevolutionary state ideology. It focuses on Jose Vasconcelos, Roberto Montenegro and Adolfo Best Maugard as some of its key ideologues. It looks at the representation of the indigenous in ¡Que Viva Mexico! pointing out ways in which it was linked to the Mexican muralist project and explores Eisenstein's visual and narrative synthesis of pre-Columbian culture in its inherent claim to permanence with the ultramodern and the iconoclastic revolutionary impulse.Less
This chapter places Sergei Eisenstein's images in relation to the anthropological discourse on Mexican postrevolutionary state ideology. It focuses on Jose Vasconcelos, Roberto Montenegro and Adolfo Best Maugard as some of its key ideologues. It looks at the representation of the indigenous in ¡Que Viva Mexico! pointing out ways in which it was linked to the Mexican muralist project and explores Eisenstein's visual and narrative synthesis of pre-Columbian culture in its inherent claim to permanence with the ultramodern and the iconoclastic revolutionary impulse.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9781846312120
- eISBN:
- 9781846315190
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846315190.009
- Subject:
- Literature, American, 20th Century Literature
This chapter begins with a discussion of Theodore Dreiser's interest in cinema, and then considers Sergei Eisenstein's film adaptation of An American Tragedy, which was praised by Dreiser but ...
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This chapter begins with a discussion of Theodore Dreiser's interest in cinema, and then considers Sergei Eisenstein's film adaptation of An American Tragedy, which was praised by Dreiser but rejected by Paramount. It also describes Eisenstein's project with Upton Sinclair to make the film Que Viva Mexico!, which resulted in a shorter film released under the title Thunder Over Mexico in 1933.Less
This chapter begins with a discussion of Theodore Dreiser's interest in cinema, and then considers Sergei Eisenstein's film adaptation of An American Tragedy, which was praised by Dreiser but rejected by Paramount. It also describes Eisenstein's project with Upton Sinclair to make the film Que Viva Mexico!, which resulted in a shorter film released under the title Thunder Over Mexico in 1933.
