By Susan McCartney
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Extra info for Come Fotografare con il Flash
S. (Dewey himself came down to Mexico to teach in the summer of 1926), and inﬂuenced, as well, by William Morris’s and John Ruskin’s ideas about craft, and their suspicion of exaggerated ornamentation. 12 Brenner borrowed the term directly from Gamio. This book, illustrated with photographs by Edward Weston and Tina Modotti, played an important role in the dissemination of Mexican art in the United States. It was also one of the texts on Mexico and its art read by Eisenstein before his arrival.
This projection of the poetics of the ﬁlm onto the poetics of the artistic process (and back) is particularly justiﬁed in the case of Eisenstein. ”34 While this is particularly the case with his epistolary and theoretical writing from this period, as we shall have a chance to observe more closely in the following chapters, this metaphor holds true for Eisenstein’s ﬁlms as well. This dissection, however, remains only the ﬁrst, initial part of the process, ultimately leading to artistic creation.
Eisenstein, famously nonsystematic in his philosophical quest, was sympathetic to both strands, which one can detect in his work on Mexico, just as it is possible to see both “early” and “late” Eisenstein sharing space in his Mexican project. Some Mexican contemporaries who were part of Vasconcelos’s circle emphasized Best Maugard’s role in the making of the ﬁlm. ), stated in his interview in Todo in October 1933 that: “Adolfo Best Maugard was his advisor, his mentor, his guide to his knowledge of Mexico.
Come Fotografare con il Flash by Susan McCartney