By Masha Salazkina
During the 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 by way of scuffling with cultural ideologies in an rising heart for the avant-garde. opposed to the backdrop of this cosmopolitan milieu, In Excess reconstructs the years that the popular Soviet director Sergei Eisenstein spent within the nation to paintings on his arguable movie ¡Que Viva Mexico!
Illuminating the inextricability of Eisenstein’s oeuvre from the worldwide cultures of modernity and movie, Masha Salazkina situates this unfinished undertaking in the dual contexts of postrevolutionary Mexico and the guidelines of such contemporaneous thinkers as Walter Benjamin. In doing so, Salazkina explains how Eisenstein’s engagement with Mexican mythology, politics, and paintings deeply prompted his principles, fairly approximately sexuality. She additionally uncovers the function Eisenstein’s bisexuality performed in his inventive pondering and identifies his use of the baroque as a major flip towards extra and hybrid types. fantastically illustrated with infrequent images, In Excess presents the main whole family tree to be had of significant shifts during this sleek master’s theories and aesthetics.
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In Excess: Sergei Eisenstein's Mexico (Cinema and Modernity) by Masha Salazkina