Abstract
In 1931, Soviet film director Sergei Eisenstein lived in Mexico to work on ¡Que viva México! This epic film dramatizes over four centuries of that nation's history, in six parts: a prologue, four episodes representing three different modes of production, and an epilogue. This essay explores (1) how the film's montage of narrative discontinuity functions as the formal equivalent of the ideological breaks associated with transitions between modes of production, and (2) how the resulting historiography is directly linked to contemporary debates in Mexico and the Soviet Union over the nature and representation of revolutions.
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