In Excess: Sergei Eisenstein's Mexico (Cinema and Modernity)

In Excess: Sergei Eisenstein's Mexico (Cinema and Modernity)

Masha Salazkina


During the Nineteen Twenties and ’30s, Mexico attracted a global roster of artists and intellectuals—including Orson Welles, Katherine Anne Porter, and Leon Trotsky—who have been attracted to the heady tumult engendered through struggling with cultural ideologies in an rising middle for the avant-garde. opposed to the backdrop of this cosmopolitan milieu, In Excess reconstructs the years that the well known Soviet director Sergei Eisenstein spent within the nation to paintings on his debatable movie ¡Que Viva Mexico!

            Illuminating the inextricability of Eisenstein’s oeuvre from the worldwide cultures of modernity and picture, Masha Salazkina situates this unfinished venture in the dual contexts of postrevolutionary Mexico and the information of such contemporaneous thinkers as Walter Benjamin. In doing so, Salazkina explains how Eisenstein’s engagement with Mexican mythology, politics, and paintings deeply inspired his rules, relatively approximately sexuality. She additionally uncovers the function Eisenstein’s bisexuality performed in his artistic pondering and identifies his use of the baroque as a big flip towards extra and hybrid varieties. superbly illustrated with infrequent images, In Excess presents the main whole family tree on hand of significant shifts during this smooth master’s theories and aesthetics.

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