# ¡Que Viva Mexico! ![[62F23544-4D3A-40F8-8738-F16CD06098B5.jpeg]] [[Anne Nesbet|Nesbet]]은 이 영화가 [[Sergei Eisenstein|에이젠]]이에게 있어서 멕스코의 벽화에서 많은 영향을 받은 영화라고 주장한다. 이는 [[Siqueiros]], [[Orozco]], [[Posada]]를 포함하지만 그 중에서도 특히 [[Diego Rivera]] 의 작업에 특히 영향을 받았다. ([[@nesbet_savage_2003]], 126) [First Outline of QUE VIVA MEXICO!]([[@eisenstein_ferghana_1957]])을 보면 [[Sergei Eisenstein|에이젠]]은 멕시코의 Serape를 이야기 하며 여러 색과 무늬가 contrasting 하는 것을 cultures in Mexico being next to each other로 묘사한다. 그는 6개의 에피소드가 whole story도 없고 plot도 없는 상태로 flow하는 것을 계획했으며 단지 리듬과 musical construction을 통해서 weave되는 것을 계획했다. 맥시코에서의 transcross는 death and life, an eternal circle. 그가 첫 아웃라인으로 그린 이 필름은 단편적이고 부분적인 멕시코의 이미지들이 이어진다. 는 멕시코의 family, vegetation, landscape, 여성이 중심이 되는 Tehuantepec의 female tribal system, 20세기 속에서 느껴지는 중세의 이미지들, 습관들, 관습들. faces of stone tigers and serpents in Aztecs, which he describe different from Yucatan sculpture. 이는 또한 여행의 이미지 이기도 하다. 한 지역을 부분적으로 발견하고 지켜보는 여행자의 시선이 곳곳에서 뭍어난다. 이러한 멕시코의 dramatic genealogies는 ’fireworks bull’, ‘Torito’, Maguey 섹션에서 어릴적 사진속에서 기억되는 Venice, 그리고 ‘the Lion of St. Mark, silhouetted against the sky’와 [[Max Ernst]]의 [[La Femme 100 tetes]] [[Surrealism]] 몽타주 으로 완성된다. ![[C366FC9F-19A1-4A81-AB68-B15512260BC6.jpeg]] ### Structure The film was to be structured as follows: ([[@nesbet_savage_2003]], 124-5) - **Prologue**, its theme the ancient Mexico where ‘death’ reigned; - Yucatan and ancient Mayas - In the realms of death, where the past still prevails over the present, there the starting-point of our film is laid. - **‘tropical Tehuantepec’** (Major section of the film) - ‘Time runs slowly under the dreamy weaving of palms and costumes and customs do not change for years and years (Mexico, 53) - Oaxacan song in waltz-time(Sandunga), a young girl (Concepción) is marries off within a matriarchal society to the boy she loves - **Maguey** (dramatic story set during the dictatorship of Porfirio Diaz in the state of Hidalgo, at the pulqueproducing plantation of Tetlapayac) - The new bride of the peon Sebastian is raped by a guest of the cruel landowner; when the peons try to take revenge, the shootout leaves the landowner’s daughter dead and in fury he buries three peons in the ground and has horses trample them to death among the maguey plants. The central song for this episode was to be ‘El Alabado’, a hymn to the Virgin. - **Fiesta** - takes place under Diaz, part of the film highlights memorials of the Spanish conquest, sadomasochistic rituals (pilgrims bullfighting) - **Soldadera**, song with ‘Adelita’ - ==Which the footage was never shot==. - Revolution of 1910 embodied in a woman, ‘Pancha’, who bears a child to a soldier in one faction and then, after the lover’s death, moves to another group of soldiers. - And who moves from one faction to another and who would thus symbolise the bringing together of the various groups. - **Epilogue**, new Mexico - Celebrations of the Day of the Dead 2 November → living dead - Achievements of Modern Mexico - (‘Factories, railroads, harbors with enormous boats; Chapultepec, castle, parks, museums, schools, sports-grounds’; Mexico 137) ## Related Concepts ```dataview LIST FROM [[Que Viva Mexico!]] and "References/Concepts" and -"Plans" and -"resources" ``` ## Related References ```dataview LIST FROM [[Que Viva Mexico!]] and "References/Readings" and -"Plans" and -"resources" ```