Viva Mexico Viva Keywords events. filmic into distinct filmmakers of different visions personal the help translate element can cultural acommon which in ways the exemplifies Dead” world. its “Day By of so, the the inside doing viewers order to attract in immersion sensory of to akind explicitly, appealing but differently, technique, of film aspects different with Dead,” combined “Day of is the the as such asset cultural powerful avisually film, each In reality. and cinema between areas overlapping creates technique film which in ways the to explore atool for filmmakers and metaphor avisual becomes death and life merges that celebration the technically: and thematically both topic the explore of “in-between” cases three all respect, every almost in one from another different vastly Though unfinished). 1931, Eisenstein, (Sergei Viva Mexico! of ¡Que footage surviving to the back way the all Que Viva Mexico Que “Día muertos”, de animación, largas, montaje, tomas filme, Inmersión, clave: Palabras diferenciados. fílmicos eventos en directores los de personales visiones las de traslación la a ayudar puede común elemento que cultural un las en formas las epitomiza muertos” de modo, “Día el este reino. De adicho espectadores alos que atrae sensorial inmersión a una aluden muy diversa, forma de pero que explícitamente, fílmicas técnicas diferentes combinen se película que cada en hace poderosa) visualmente cultural (comomuertos” demostración “Día de El yrealidad. cine entre solapamiento el en indagar para herramienta yuna visual metáfora una directores los para resulta ymuerte vida fusionar de que surge gozo el técnica: la en contenido como el en tanto “limbo” un en hallarse el exploran tres las aspectos, sus Mexico! Viva 2017)Molina, ySpectre Coco recientes las desde ejemplos muy que van conocidos tres con cine, el en repetidamente sido “Díautilizada ha muertos” de del mejicana celebracion La Resumen Coco recent the from ranging notable examples most of the three with film, in used recurrently been has ( Dead” “Day of of the the celebration Mexican The Abstract REPRESENTATIONS OF THE “DAY OF THE DEAD” IN FILM IN “DAY OF THE DEAD” OF THE REPRESENTATIONS Revista Canaria de Estudios Ingleses Estudios de Canaria Revista Que Dead,” “Day of Que the Take, Animation, Long Montage, Film, : Immersion, , Spectre (Sergei Eisenstein, 1931, Eisenstein, (Sergei todos casi en muy inconclusa). Aunque diferentes (Lee Unkrich and Adrian Molina, 2017) Molina, Spectre and Adrian and Unkrich (Lee , Spectre IMMERSION THROUGH CULTURE: THROUGH IMMERSION , Coco INMERSIÓN CULTURAL: REPRESENTACIONES CULTURAL: INMERSIÓN ¡Que ¡Que de que sobrevivió 2015), Mendes, escena (Sam clásica la hasta DOI: https://doi.org/10.25145/j.recaesin.2020.81.05DOI: , Coco Aristotle University of Thessaloniki, Greece of Thessaloniki, University Aristotle . DEL “DÍA DE MUERTOS” EN FILMES EN MUERTOS” DE “DÍA DEL . Giorgos Dimitriadis , 81; November 2020, pp. 61-78;, 81; 2020, November e-2530-8335 ISSN: Día de los Muertos los de Día or Muertos de Día (Lee Unkrich and Adrian Adrian and Unkrich (Lee (Sam Mendes, 2015), Mendes, (Sam

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REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 61 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 62 the Epilogue part of the movie, to which the “Day of the Dead” footage belongs (Salazkina 140-141). (Salazkina belongs footage Dead” of the “Day the which to movie, of the part Epilogue the of most shot 1931 October Eisenstein during that it was as (1931) year material, and this to refer also citation The Dead.” of the “Day the features that footage of that part the to particular in and footage, lengthy of Eisenstein’s sum the to refer to title the uses article of economy, present the For reasons 140). (O’Mahony intended” have may Eisenstein of what notion a generalized as regarded be best at “can version that but even Mexico, in time their during associate close his Aleksandrov, Grigoriy 1979 in title by this under completed was terms historical in one Eisenstein to closest the probably is which film the of version The it. intended Eisenstein way the film areleased as existence to came (Sergei Eisenstein, 1931,(Sergei Eisenstein, unfinished), Viva of¡Que Mexico! footage surviving the selected: are films entirely different three to possess, seems “Day the of Dead” the that ability of this range the demonstrate andin order to watching; film with paths to cross of viewers for reality the catalyst render experiential it of “Day an the of Dead” the qualities these which in ways the explorationis a brief groups. Thearticle of present target and aspirations creative eras, different genres, of for inspiration films as serve easily can fate human ultimate the and ties to weight of family the both its references and roots, religious and of depth its folklore the wealth, of its aesthetic exuberance the far; so times several cinema in used been has theme the thewhy Dead” of “Day the explain of to difficult diverse. is It not thematically and distant chronologically areboth that for films theme footprint, becometo a recurring identifiableethnic astrongly holiday with but on the other they are also capable of expanding even further, both geographically geographically both further, even capable of expanding also but are on other they the one, Mexican on strictly the indeed, one encompass hand that, contexts in dynamics by comprehending those regeneration diachronicity and explore ideaof the change, holiday to of this dynamics Eisenstein’s the attempted to as use such for instance, projects, days cinema, of earlier the capableEven distributionis since of reaching. film that audiences or international even Anglos US, but the population in also Latinx not general the only holiday among the has, that resonance exact of this advantage takes things, its attention to indifferent or meaningless fornot shifting known film borders. industry, The Mexican people outside affect originally its and to expand cinema. as such scope, international an form with to amodern when art it attached is especially of carrying, holiday capable is ethnic atraditional, that potentials inspirational the highlighting at aims films 2017). Molina, Adrian and Unkrich particular these Theselection of reasons that enable the “Day of the Dead” ( enable “Day the of Dead” that the reasons into insight some offer the itof another. approach, can be, may Such as an wide with one communicate world the and of film the reality viewers’ the which in ways of level the immersion, it as refer may to the discussed Often ofcontext culture. the dimensionanotherin yet acquiring studies, film in extensively discussed been 1 The starting point for discussing the “Day of the Dead” in film is its ability isits ability film in the the “Day Dead” of point discussing for Thestarting The level of engagement between viewers and the contentthehas and viewers film of a Thebetween level of engagement

is a remarkably challenging task, since the film never never film the since task, challenging aremarkably is Viva Mexico! ¡Que dating and Citing INTRODUCTION 1

Spectre or Muertos de Día (Sam Mendes, (Sam 2015) Coco and Día de los Muertos los de Día (Lee (Lee ), a as well as ethnically. as well as with a more global outlook. amore global with completed, been had it film, the imbued have would that a filmmaker as status international his it was “transcultural spaces, which connect different space-time venues even when distant evendistant venueswhen space-time different connect which spaces, “transcultural call encounters” one they what as found in intercultural borders through cultural “redefinition the see of Galindo Zapata Martha one. and Schütze Stephanie into another culture borders own the of cross their to virtually viewers allow Such experiences for viewers. experience immersive into an features those translate to technique and language cinematic uses down, and further Dead,” discussed as thefrom the “Day of some the features of utilizes discussion forselected films three the of each or ideological, other; e.g. financial, reasons, group for various to order amuch in target wider toelements appeal “Day from the of Dead” the therefore, borrow movies, These communities. Latinx and Chicanx wider the or speaking) proprietors (geographically of holiday, the Mexican i.e. strictly the thecultural to themselves without confining at audiences, wider aimed all are selected presently the theon “Day Dead” based of movies three The boundaries. or ideological, other aesthetic, to able be seem cultural, toits themes penetrate film, in been utilized has tradition cultural specific multiple the from the times it apparent becomes As experience. across-cultural as its value contribute to assessing interestedin. is particular in industry film the that audiences wider theway find to its much gradually production and general, in US to the cultural ease relative with to transplanted be asset, holiday, cultural the important allow an as that features on same the based identity is Latinx and Chicanx Mexican, a wider expresses the the “Day Dead” which in together,of it probable flexibility is the that information this all Considering 3-4). (Aldama production country the in culture pop now US. is the mainstream in shaping minority demographic presence” of Latinx of Western (4-5); “massive the culture that fact the with second, it connected and is influence homogenizing abandoned under the being are premodern traditions that assumptions defies (Latin-ness) Latinidad that indication it an is Marchi, M. Regina to according all, first of twoways: in part, production, asignificant is cinema of which into cultural echoes communities, of holiday outside the even Latinx popularity celebration”the (2-3). theincreasing information,combined with Thethis weight of in for to others participate framework ritual and who “provided artistic the artists, work the of Chicanx US through the in known made well, as countries American other Latin in it Mexico, atradition is with associated generally been holiday has the population and represent descent of US 60% people Latinx the of Mexican US the public in presence 2): sphere” a positive Latino (Marchi although “asserting at 194), identity (Brandes aiming as ethnic well as apan-Latinx as well as Mexican for aspecifically factor both astrengthening as of its terms status in both discussed be can theindustry, Dead” “Dayfilm the the of for market asignificant is which Issues of identity related with the celebration of the “Day of the Dead” celebration the of of“Day the identity with related of Dead” Issues the 2

After all, Eisenstein’s project came from his aspiration to complete a film in the West and the in West afilm complete to aspiration his from came project Eisenstein’s all, After 2 Concerning the other two films in relation primarily to the to US, in relation primarily films other two the Concerning

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 63 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 64 charged artistic movement of modernism. artistic charged of ideologically the inclusion, realm the ultimate its in recognition, and through significance of extensions political people the by acquiring serves that of art kind the with 7) (Brandes mortality” confrontation irreverent, with macabre “an almost element of cultural folk the to translate manages mementos: amixture such instead, and plastic graves with flowers and art, with morbid the with rituals of black death, life with colors one, blends associated vivid next which the world assumed the and this between celebration of ties the acolorful much is recognition more than of this (qtd. 63). of Brandes “popular in resistance” common people akind with The result provided the that things the among was art his French that E. observe William and (qtd. 62);Rivera Martin Brandes in H. Beezley, on Cheryl other, the and, William Diego around artists posthumously,albeit modernist of circle by the established ofone Peter value Posada’s hand, Wollen artistic the recognized, notes work that was (45), other representationsand of on death” practice: modernist but essentially of an skeletons, skulls, with “undeniable not fascination only of Mexicans’ the trademarks 61-62), (Brandes before others him and Manilla Manuel are as well as Posada, the workin of José Guadalupe event.origins aesthetic Its significant artistically awhole. of holiday the as nature inclusive the accentuates further and 8); demonstrates (Brandes church this Catholic Roman- by the November neither day to, relates 1, nor recognized extra is but this the added beforeis to dayholiday additional an specifically, of Mexico parts central 6). some In Day on Souls’ (Brandes November 2respectively 1and All Day and Saints’ of holidays All of Roman-Catholic the a combined variant inclusive feast, an into(Shujaa 358-359); crystallized “Day the of Dead” the centuries, over past the traditions Roman-Catholic combine and that pre-Columbian practices folklore and to it rituals connected is to its origins, regard with exclusion. and of First all, clashing elements the of of with fusion, combination overpoweringintegration those and were welded to experiential produce together would consequently what become an elements cultural and religious ethnic, geographical, diverse For term. the centuries, of sense every practically in “in-between” the celebrates essentially “Day of Dead” the present, from its to roots the the that, here fact of the is use mainly is holidaythe that of feature The films. in it featured which is in ways technical various the as well as filmmaking, in a theme as its popularity understanding also step in important an is of past. the migrations for physical the surrogate techno-artistic of elements, globalized akind of cultural migration the forcontemporary vehicle as a function can cinema which thein way exemplifies film in of “Day the of use Dead” the the statement experience, cinematic to the (qtd. chronologically” Montes and in 95). de Oca this geographically Extending Second, in terms of its appearance, the “Day of the Dead” is in itself an an itself in is “Day the of Dead” the of its terms appearance, in Second, of “Day the of Dead” the characteristics some ofessential the Understanding CINEMA, TRANSGRESSION AND TRANSGRESSION CINEMA, THE “DAY DEAD” THE OF THE border are “usually full of sociopolitical commentary, even if covertly” (364). covertly” if even commentary, of sociopolitical full “usually are border Mexican-US the across and along Dead” of the “Day the for festivities religious that note also Dyrness R. Grace and Irazábal 57). (Smith Clara Mexico in place take also occasions similar as though, US, being particularly common (158). particularly being neighborhood, local or allies, community,”political wider ethnic causes political with with “one’s ones, specifically friends, familial other relationships than strengthening of July” (145).Fourth or at establishing aimed often celebrations are he adds, fact, In the as occasion an devotional as and Thanksgiving as affair family much of asecular holiday the “appear to as be make elements its USits religious in versions can today apparent notes, the 79-80). suppression Brandes of of As many Agredano-Lozano celebration (Marchi 1-2; andsecular Brandes 178;communal to a more affair, social, of holiday the from aprivate, family nature the to have seem shifted variations 157).ones” (Brandes One some point noteworthy American that is of comparison old reviving and rivalries new contested “generally creating events, celebrations being various with andthe its from to other community one variations significant with 78) (Agredano-Lozano origins Catholic and beyond so does its Chicanx and geographically to expanding be seems “Day US, the the of Dead” In the at large. culture American the of aspect an as mind in industry film American the keeping film in considerthe to representationsthetherefore justifiable theof “Day Dead” of the in US to related of onethe being way identity its or other. part is It significant a product with technological and commercial acultural, remains expansion, global all its onefor time, film, not must same forget that at the features; on these builds or other. artistic, political, i.e. cultural, of significations, kinds to all translated be may that result aesthetic produce an clash, that through and, to clash meant are condition, not and being, of human being the polarities extreme two the human: relation to in being exist, can of blending that kind is probablythe most This andprofoundelementary time. same person at the same the in coexist may that responses emotional contradictory elicits normally amanner such (49). in dead of the death face the in than rather living the Laughing for that is designed andit (60) itself of death mocking adefiant holiday essentially is the that morbidity. stresses with embrace Brandes humor atight in is as Stanley of emotion, terms in death encounter and of pleasant life uncannily an celebrates included in it, thus drawing politics and ideology closer to the film experience, is experience, film to closer the ideology and politics drawing included it, in thus kind some of message as a forvehicle passing of film utilization occasional the that, additionIn experience. to communal a becoming also enjoying them, effectively elements, excludenot fromdoes others cultural or ethnic it if even includes specific that, kind favorsof entertainment a the industry movie that, of profitable.Because order in audiences to wide remain at attracting aims normally that entertainment productcommercial themass is a of inUS, especially film, of First all, levels. several In its representations of the “Day of the Dead,” film normally and extensively extensively and its representationsIn of “Day the of Dead,” the normally film “Day the well, of Dead” the as Finally, most importantly perhaps and 3

Making use of “Day of the Dead” celebrations for political reasons is not limited to the the to not limited is reasons political for celebrations Dead” of of the “Day use Making 3 The affinities of such of conditionscinema to affinities work on The

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 65 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 66 he gathered would produce a visual monument would produce “Dayhe to the gathered avisual of Dead,” the imbued andhistory. the footage its of country thePart for fascination drivenhis by a film film rather unlikely, rather film anew cooperation in of prospect their any made which parties, two the between common toground find inability due Paramount to a discernible with a contract from release his After history. piece of invaluable film but ill-fated, still become an would to what create drove him that stimulation artistic with but also countries, of other practices filmmaking not the contact in only with West him to bring was documented, Eisenstein’s and well-known are of venture which to the background and most of details the astory In of area. the history and traditions the as well as landscape Mexican by the Upton (308), fascinated Sinclair was Eisenstein Sergei awhole. as polysemy cinema inclusive in thematic the of manifestation visual value asa the the of holiday demonstrates effectively films diverse in such found the the with “Day Dead” of preoccupation This adaptable. immersion of definitions and flexible more making thus ways, different remarkably explored yet of in them, and three to all common one in are contrast another in placed otherwise are elements that between of boundaries blurring deliberate and of fluidity features The films. entirely different in manifested it technically is as resemblance this of aspects different discusses section reality. own The following their of worldthestability without for filmic the surrendering of validity akind accept they which in situation in-between an to temporarily viewers transferring effectively for duration of the atfilm’s least the of its verisimilitude, runtime, acceptance world that requires of filmic the experience an entails on other hand, the watching, world Film- the with of living. communication the its occasional and afterlife the in solid arelatively presupposes belief “Day the of Dead” the celebrating fact, In viewers. of film experience transgressive the ways resemble several in earlier described of in-betweenness how traits much these to realize it remarkable is experience, and on extent to emotion agreat based also is that holiday, art an relation as to in cinema well. load as ideological or a political carrying occasionally experiences, cross-cultural for communal, basis the as serve that expressions artistic as seen be both can common they ground: share seem to festivities and the “Day Dead” of film-watching both evident that is it Underlight, of medium. the this beginning the since practically reality a known of his contract (130-133). contract of his termination the to leading be, to come eventually would none of which Paramount, and Eisenstein SERGEI EISENSTEIN’S CROSS-CULTURAL IMMERSION In his “Mexican adventure,” as it was referred to by the American novelist adventure,” to American referred by it the “Mexican was his as In experiential an as “Day the considering of Dead” and the Taking astep back 4

Mike O’Mahony describes several possible film projects that were discussed between between discussed were that projects film possible several describes O’Mahony Mike 4 Eisenstein traveled to Mexico financed by Sinclair create to by Sinclair financed to traveled Mexico Eisenstein footage lengthy exceptionally the to himself edit never opportunity given the was Eisenstein that wanted thehe have:it formto in seen be to film particular of this survives what never allow inevitably will reasons historical of Eisenstein’s skill, and theories editing significance the For all festivities. “Day shot from the of Dead” director scenes the the forwhich intended six-episodestructure, section of Epilogue originally its final to its consideration the if only limited even is viewpoint, ahistorical as well as Mexico specifically. of limits or cultural beyond geographical the well go that qualities cinematic with made use of the “Day of the Dead” in a way that denotes elements that are present denotes are elements away that in that of “Day the of use Dead” made the Revolution of 1910, vision Eisenstein’s that is artistic presently suggested is what the following especially particular, in of Mexico history the with of themes usage borderof Mexico-US (14). the this connect that shades Sidestepping political the on sides both essence” religious beyond its original far symbolism ideological and meaning political a“definite to today acquire “Day the of Dead” the caused has globalization notes that Brandes more recent obvious years: widely in becoming are believes Brandes that extensions “Day the of Dead” in saw apparently the Eisenstein ago, decades Many practices. religious with associated or necessarily notare strictly regeneration and that on holiday’s death the of life, themes to capitalize primordial of “Day the of Dead.” the symbolisms transcultural and diachronic the enhance also elements that same the magnify 141). these notions express best to uses Eisenstein that techniques film The (140- structure prefers it, to see spiral Salazkina Masha or as its circular, in viewer the engaging it Epilogue, Prologue revisit the then the in in and of theme the death with begin film would the film’scircularity: a denotationthis in is itself of episodes (252). co-exist the of intendedarrangement The perpetually rebirth and death which acontinuous in circle” “eternal in by other replaced things, being and passing things of process enjoying the by actually death of life,” wisdom mocking and the and as a of death “unity film the in of “Day the of use Dead” to refers the the Eisenstein the director treated his subject matter and planned to proceed with the project. the with proceed to planned and matter subject his treated director the on how of information source invaluable an still is outline the (140). censors” Nevertheless, Mexican the and Sinclair appease “to meant also probably was film’s the production, in use its from apart outline, this Seton’s that Marie note cites and films, his making while guides” rough more than (Salazkina 1). hours forty of approximately runtime a with rushes of film feet of amillion aquarter to close shot Eisenstein hours, six approximately footage, as revealed in his own surviving rough outline of movie. outline the rough surviving own his in revealed as footage, the andshooting film the planning while aspirations present–albeit latent–in his still are Eisenstein’s behind editing towards assumptions attitude underlying the others’to see “senseless” to attempts do (qtd. so Vassilieva 700). in Nevertheless, 5 Eisenstein’s project aquite is complex Mexican topic aesthetic from an both The Epilogue features the “Day of the Dead” as its main element in main as order its the the “Day Dead” of features The Epilogue 6 5 he Viva shot of preparation in ¡Que Mexico!

O’Mahony mentions that Eisenstein was known for using scenarios only as “as little little “as as only scenarios using for known was Eisenstein that mentions O’Mahony was material of original time total the footage, duplicate to due that, fact the Despite , and he was explicitly dismayed dismayed explicitly he was , and 6 In that outline, outline, that In

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 67 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 68 staring in the face of death as something not and only funny, transient something but as of also death face the in staring of fearlessly ability the by accentuate doing so, they of masks; paper the temporality and artificiality the reveal intense proximity, also alarmingly an from featuring Close-ups, apart that represent skulls. masks paper when filming focus deep ups and close- uses prominently Eisenstein film-watching. with associated generally escapism opposite the achieve of desired the easily may of that engagement akind is death of of inevitability the sudden awareness this and mortality, of their reminiscence unsettling skeletons an in see holiday the might with unfamiliar culturally are that Méliès’s he Georges saw time the silent time work (Chinita for first 187). the Viewers from even to trip Mexico, before his “early well to them attraction” an had actually skeletons. Eisenstein and of of theme the skulls use makes way Eisenstein the in other.to each contrast elements a fascinating in cultural of existing magnetism the to showcase order Viva in in ¡Que Mexico! language simply filmic the to was use contrast through (182). surface to the them to do to had denote harmony Eisenstein other words, all In to bring or editing without for need there, camera the the were already editing in achieved otherwise juxtapositions shocking the reality: social Mexican in quality” found a“proto-filmic Eisenstein Noble that states Andrea aspirations. theoretical and Eisenstein’s stylistic characterized that contrast” spirit of through “inclusion same the footage that in see of Epilogue the of survives what sequence, viewers film (251). final to the be meant was what about theDead” “Day the of Specifically to hold intended the of together also Episodes them, thus bond between internal music and to denote the rhythm to utilize character,”and planned director the “spirit same by the centuries the were held through Mexico together in cultures of weave;” various “unity by the the the held yet harmoniously and together as “violently contact, contrasting” multicultural symbolized ofcolored which stripes the elements serape, composition the the saw in of contrasting himself Eisenstein case, theme” (4). ideological particular to “an juxtaposition ‘essential’ this their In chosen” “arbitrarily elements have when through brought to collaborate together Eisenstein’s force behind contrasting, about power montage: the that ideas driving the thatfootage in traces vision, his Robertson Robert that would reflect coherent film United 134). States” (Brandes urban the throughout prevail that diversity ethnic and “multiculturalism the atool for US as teaching today the in used holiday similarly is this culture, Latinx wider the and Mexico beyond both expanded having confinement: refuses stubbornly that day. feature same It this is present the in perpetuation to its transcultural similar occasion, all-encompassing thean spirit celebrationwith theas of film the connects features, of antithetical embrace aconstant in expressed contrast, through harmony of achieving feature permeating the well: of holiday the as extensions probably secular bywas the inspired US, Eisenstein the in aspect social and today,acquired partly, amore at least secular having “Day to border. the of of Dead” Mexico-US holiday the the north Similar ofthe media-related transplanting and more cultural visible today’s in geographical, made and along such, carried have been of holiday as the itself, and, essence the in The same harmonious unity found in contrasting elements is also visible also elements is contrasting in found unity harmonious same The into a footage surviving the never edited Eisenstein that Despite fact the for common ground between Eisenstein’s intentionally clashing sensations and the the and sensations Eisenstein’sfor common between ground clashing intentionally to search task opposite It therefore ways. achallenging is diametrically in achieved be to goals allows similar for techniques filmmaking onlyof one. expressive Thewealth not the but it certainly is immersion attained, be may cinematic which in ways the of which will unfortunately ever be seen–by an acute stimulation of their senses. of their acute stimulation an seen–by be ever unfortunately will of which glimpse a film–only his in intended audiences to Eisenstein immerse contradictions, 169). on flourishes from aholiday themes that (Salazkina of visual Taking advantage gender and differences” race, class, (utopian) overcoming of the all and synthesis total to demonstrate meant was “a formodel a the the “Day Dead” of film, the in used border-crossing: other elements the among to he become ametaphor for artistic Eisenstein’s on concept of the emphasis West venture transgression. to the was and content,technique film placing both on is based state, its unfinished in even 139).film’shavethe of holiday viewers the (Salazkina of experience The Epilogue, significance contributed considerably of recognition cultural the international to the to have believed is and Eisenstein’s world quite the around impactful was footage 1), from present (Marchi day of stills to mention circulation it the important is that the until of “Day the of Dead” preservation the played the in role media the that relation to in acknowledging fact, Viva In ¡Que Mexico! of unfinished the part of depicted the scene. essence the inside them such, draw as level, and, existential at attention afundamentally the of viewers the but attract cannot which fate inherent human inescapably to the therefore alluding dead, the condition, and of human represented the states living by the elementary two the stimulates the senses, the stimulates that Eisenstein’s through feast asa Dionysian technique and refigured intensified 187), (Chinita of skeleton skulls the and symbolisms visual force” the in of life the “valorization This death. and life between contrast thematic the validating visually movement” constant “in scene (144), the presenting but static, way anything is this content the and of shots foreground background, the the and between contrast visual 144). a creates use focus of deep The (Salazkina over death prevailing force of life of the image an representing into camera, the some look ofchildren, which straight of mostly faces smiling are removed, revealing masks thewhich in shots of effect the (252). of death to aprovocationscene be mocking and heighten further close-ups The explicit intention his demonstrates for this Eisenstein technique, With this defeated. ideas about the use of sound in movies (Robertson 102). (Robertson movies in of sound use the about ideas innovative his film this to it byapplying enhance further to intended Eisenstein that stressing worth REALISTIC ENGAGEMENT IN SAM MENDES’S LONG TAKE MENDES’S SAM IN ENGAGEMENT REALISTIC Eisenstein’s unrealized creative vision in vision in creative Eisenstein’s unrealized celebratedand knownis episode probablythe most The the“Day Dead” of 7

As much as the footage gives this impression in the form that it currently survives, it is it is survives, it currently that form the in impression this gives footage the as much As 7 signals an eternal and essentially harmonious balance between between balance harmonious essentially and eternal an signals ¡Que Viva one is version¡Que Mexico! of

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 69 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 70 condition, being alive vs. being dead. This polarity is established right screen on established is polarity This dead. being vs. condition, alive being of human the extremes two the representation fuses of a holiday that extravagant is providedin Spectre Bond James films, in not is which unusual franchise. the throughout death and of crossroad at life the character’s being position, the constantly emphasizes and for action theme background helpslavish create a This theme. narrative and most importantly, prominence the of “Day the of the and, films, Bond from preceding successful already an as Craig of Daniel caliber used), star the of actually a sequence invisible(although of shotsediting was take impression of acontinuous long successful the are respectively, it these features: that elements narrative and production-related, aesthetic technical, the on all capitalizing in Spectre to fulfilled be seem purposes these Both effect. of impression attention for overall technologies reasons to and cinematic draws that as a tool or ofor closing afilm, “emphatic beginning at an the either as device” cinema in used been generally has the take long that Donato Totaroclaims identifies not does by it, go unnoticed. that Nicholas Bugeja calls as of sort realism” “certain a experience, of real-life akind with proximity uncanny an features it also editing, of visible kind from any distanced 37-38). technically and it visually is Although high-profile (Uddenproductions and auteurism with it Hollywood in associated often attention has to draw to itself its ability achieves, long the to what take as theorists amongdirectors or agreement thereis general no Although filmmaking. contentand combining technique in of effectively of importance the example clear smoothness of Sam Mendes’s of Sam smoothness long takes. that there is no agreement, let alone any standardization, of the duration of long takes (Udden 42). (Udden takes of long duration of the standardization, any alone let no agreement, is there that noting worth is it a film, in spotted easily (28). norms” Although or national “historical to compared reality to taken is other words, in reality), art never the and changes (i.e. that it art the is art to taken is reality apure constant), is, that remains art as manipulated is (i.e. reality represents reality Eisenstein that fact a determined style: is “It film approaches to between difference this summarizes Menard George aproponent who was David opposite Bazin, of long the him take, André placing and of montage a theorist as Eisenstein Considering purposes. similar serve may actually techniques filmmaking of different how example immensely a perfect as emerges feast, community a massive as representation elaborate of “Dayan the of Dead” the during place impressive four-minute an takes most of features which longwhich take, attention Spectre far, so and one in is, of way or other, them. both the in obviouslyreality central experience to film-watching the connecting style, approaches to film distinct these .” 9 The way in which the main character is re-asserted in the opening scene, scene, the in opening is re-asserted character themain which in wayThe 9 8 The value of the long take as a cinematic device has received adequate critical adequatecritical received has device cinematic as a the Thevalue take of long In Menard’s view, and for all the considerable aesthetic differences between between differences Menard’s considerable In the view, aesthetic for and all

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REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 71 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 72 Mexico City parade. City Mexico the in year that used be to was film the from wardrobe and props original the even that notes which of The Independent edition 2016 online on October 27 the in published Shepherd’s article Jack see in 2015.film the of Indicatively, release the after organized were they time first the 2016, was which thematic chapter, Lee Unkrich and Adrian Molina’s Adrian and chapter, Unkrich thematic Lee (70). contributes one demise toof that their becoming instead performances ritual local prove helps fact perpetuate that in to afactor be may notes, tourism Brandes as time, groups; same at the ethnic of various character cultural the shown interest in generally has cinema spirit of commercialization, this within viewers’Besides, the reality. of aspects affecting actively thus attractiveness, inherent already an product with acultural globalize and to commercialize cinema globe.”the contribution The of Spectre around note, heritage for now is Mexico’s “an ableMetcalfe ambassador cultural organized in Mexico City; Mexico in organized have been parades the“Day Dead” of real-life of film, the success the following fact, In tradition. this interest in US, contributedholiday the in reviving to the Spectre in of “Day the of Dead” the depiction the note that Chesnut Metcalfe David and Andrew it forward. drives even and foundations, on built solid ethnic of aholiday otherwise dynamics transcultural creators, and Disney in general, had a global outlook Coco when aglobal putting had general, in Disney creators, and the that fact understandable (Rose). financially much as obvious as the Considering film on misrepresentations of Mexicans the forstereotypical redeemed itself” finally “Hollywood that and (Encalada) cultures” among of understanding a“bridge builds include that Positivestatements audiences. ofit film the to global wide reviews appeals product that commercial ahighly create time same at the and present the in article, of roots “Day to33), recreate the the earlier of Dead,” the described as managing thus (Castro family” amongst “love shared the to to become amusician, desire highlight strong a with Miguel named character, a boy main adventure the the of uses film The well-executed. extent, for to agreat is, aimed Disney immersion that of audiences 33).(Castro of Coco success massive The storytelling” and policy combining America Latin of in aline ventures Disney in location for another yet Bond’s Coco as missions, international by Mendes and mural, Mexican of his essence complete the as he what understood to of holiday the by use to Eisenstein the contrast In audience. to the impact full explore to holiday, an its opportunity film’sis the and particular success about this 10 Whereas Whereas

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film is “uniquely is situated Coco is exclusively exclusively is together, it , Mexico (34). be any brown-facing in the movie with regard to voice acting (qtd. in Castro 33-34; qtd. in Gomez). in qtd. 33-34; (qtd. Castro in acting voice to regard with movie the in brown-facing any be of production the join to asked was Alcaraz Lalo cartoonist 7-8), famous the when and (Aldama past the in animation Disney in happen to noticed been has example, for brown-facing, derailed: get to project the for more ways many indeed been have could There (Kyriazis). marketing” of “cynical accused being Disney with critics, and Coco that appeal universal the about concerns to due product established already an using cinemas to audiences family draw to attempt Frozen Adventure Olaf’s movie short twenty-minute the show to decision their that, to addition In Ugwu). 33; Rodriguez; Castro 79; Rose; (Agredano-Lozano Muertos” los de / “Día Dead” of the “Day phrase the trademark office performance office 34). of movie the (Castro asolid Combined box with for artwork the Angeles Los in scene art Chicano from the renowned artists as well as voices” for characters, the theDead.” “Day the casted Latinx of with list “a creators of The long affiliation have a cultural would reasonably that audience to the when referring communities Latinx and Mexican between do not to distinguish directors seem the interviews, community.” Latino the and cited their culture In Mexican “depicted way they the proud were very about co-director Brendon his he with and that Connelly interview an in notedalso (Ugwu), Unkrich audiences Latinx by about reception of film the the despite fears addition In to his that, families.” about value their they and culture theirabout value they that things the reflects proud be away that in of and can they on represented screen away that themselves to in see for “Latinos was purpose their completed, andbe to Terry for film the with it years took Gross that six interview an in claimed themselves directors the fact, In praised. critically and successful commercially both was result production overall for the anumber of reasons, marketing-related miscalculations In spite andculturally. of Disney’sinitial aesthetically notalso but only financially, it work of story. theme making in the company background invested to The the itself emits. “Day the of Dead” the that quality transcultural appealing to the owing largely cinemas, to audiences international draw massively to managed film the that seems animation has gone in the past decades. Reviews often cite the meticulous attention cite meticulous often the Reviews decades. gone past the in has animation Coco shots. invisibleof successive elaborate an editing through time and space of unified impression Mendesof the sound; and created technology introduced newly the with to experiment eager was Eisenstein of technique focus, deep the from using apart Mexico! Viva ¡Que forboth true also is represents. This “Day the of Dead” the that experience it. with audience wider the address and “Day of Dead” the of the inclusive nature the surface to to the bring creators managed the that fact the , on the other hand, showcases Disney’s abilities and how far the quality of quality Disney’s the how showcases and far , on abilities other hand, the and Spectre and Disney went to great lengths to keep the film both appropriate and faithful appropriateboth andfaithful film the to keep wentDisney lengths to great Technology was a key factor in visualizing on screen the communal cultural cultural on communal the screen visualizing Technology in factor akey was 12 11

Disney received massive backlash by the Latinx community after the company tried to to tried company the after community Latinx bythe backlash massive received Disney Elizabeth Castro mentions that Coco that mentions Castro Elizabeth 12 , although the results in each case were substantially different: different: were substantially case each in results the , although right before before right and a generally positive critical reception, this demonstrates demonstrates reception, this positive critical agenerally and Coco would have, this move was also received negatively by audiences byaudiences negatively received also move was this have, would as a cultural consultant, he directly asked if there was going to to going was there if asked he directly consultant, a cultural as Coco 11 in its initial screenings did not fare well either. Possibly an an Possibly either. well not fare did screenings initial its in and the fact that it proved that to fact ademanding be the and is among the most profitable films of all time in time all of films profitable most the among is

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 73 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 74 cultural imprint. Being a recurrent source of creativity and inspiration, the holiday inspiration, the and of source creativity a recurrent imprint. Being cultural at large, Latinx and Mexican, originally recognizable without its and losing strong significations, of cultural its variety to expand as well as boundaries, cultural and world of dead. the way imaginary for the representing acceptable aculturally holiday blends with smoothly actual the in colorsthe used of realism the recognizable describes: Costa color that of film opposing views two ina way,reconciles, also film, thethe but in two worldsportrayed the effectively holiday, of actual not the only bridges festivities on colorful the building palette, same combined colors the cool in are and way warm the reality; aesthetic this with Coco in immersion Audience identity. ethnic and cultural with connected levels aesthetic with ties establishing Coco that to consider fact the important it also is to animation, compared understood coloruse the areof differently andquite signification where the both cinema, action to possibilities” 333-334). refers (Costa live normally this signifying Although of to its “wide range owing represent and fantasy realism to escape ameans or as due to its “aura of authenticity,” realism enhances that i.e. afactor ways, either as two opposite in viewed been film. has the throughout Traditionally,colorfilm in maintained is which palette coherent, rich, by but the visual generally achieved is world the this and world of the dead; the of living the between distinction the both to establish time holiday same at itself, the and of actual the aesthetics extravagant the to faithful coloruse Therefore,theof had to remain death. after linger souls where place the recreates actually that movie presently discussed out of three the of of descent. regardless alike, viewers common for inevitably is all that to more be seem life frequentof children’struth in a (Collin),addressing films which directness and a with Thesincerity thememovie thetouches on of death kindness. inviting an with of thorny death issue the addressing thus pleasurable, and comforting emotionally is that aversion by of afterlife creating audiences the Coco in outside screen, time technology the and space cinematic extended Mendes’s and to aproductive clash, living the which and brought long dead the take to Eisenstein’s compared that focus deep otherwise: probably inaccessible have been that would reality kind imagined of a visualizing example of an is efforts of these (Harrison).company Ghibli result Studio The film animation Japanese acclaimed by created the of those quality to the compared being settings breathing” and its “living depth, with of its color visual and for quality the praised been also has (Connelly). believability film The maximum with he would shown playing be that so guitarists, of reproduced real from videos were accurately guitar his playing while how fingers Miguel’s describes production; for during instance, Unkrich, to detail Coco has an important real-life referent as its main theme: getting it right means it means right getting theme: referent its main as real-life important an has is the use of color. It is important to stress the fact that this is the only the is this that of color. fact use the the is to stress It important is The “Day of the Dead” has come both to transcend its original geographical geographical original its cometranscend to both has The the“Day Dead” of technique animation the in parameter technical Perhaps most important the works partly because colors are successfully associated associated successfully colors are because partly works CLOSING REMARKS CLOSING speaks to speaks that contributes to making good movies. good contributes tothat making anything as with shouldit be this, for grateful be will history film and stunning; technically and extravagant aesthetically varied, thematically have been far so century forclose to a the the “Day Dead” of feature that films goals, creative individual of cosmos” our of (4). world, alternate regardless of order this In to show aspects into section another symbols, of wonder, nights stunning and these during danger us, thereby ‘transplanting’ place and of time experience our ableis to “transform continues, attention onto world;” alternate Carrasco an spirit the of festivals, such rivetto human attraction, “temporarily on its affectual Dead,”the capitalizing thus on “Day the of based are that of festivals ability the describes Carrasco David ways, In similar flowthenarrative. spatio-temporal by absorbed the be of let themselves world that attention–to and their at least emotions–or their invest latter the that so viewers, with connection worldaffectual some creates filmic a successful watching; for duration of the accept film- viewers that credibility on self-sustained its own based worldunfold narrative to its by works enabling product. Afilm artistic circulated globally and exported represents amassively that entertainment aform of mass as thepoint is cinema with crossoverof universality This audience. immediate and origins or ethnic at its core, compromising without its narrower surrendering human universally something has holiday the already 2008, in by UNESCO of Humanity Heritage Cultural of Intangible the on List Representative the Inscribed discussed. presently films three to the regard with one, at least afortunate been has cinema with senses. human natural the through operates nonetheless but spiritual, be may which transference, atemporary promises of immersion that experience to an “somewhere-else,” participants ultimate the as therefore engaging world world the with of dead this the connect that i.e. bridges otherness, spatial of wider,as much signifiers evenserve primordial eventually themes These things. excitement the and other side of the of experiencing for need a deeper transgression combined under the weight of dissolve emotions, all contrasting and of macabre the interpretations visual festive conditions (faith-related of being or secular), unusually in between multiplepositions: boundaries participants place effectively of dead, the theliving–land to inaccessible the–otherwise to conceptpeek a the of offering with playing earlier, described all of holiday the themes emotional as and visual religious, The as a metaphortransgression. for as well specifically, folklore torelated the explorations, always not aesthetic forlavish the background as obviously offers itself Considering this transgressive nature of “Day the of Dead,” nature the its encounter transgressive this Considering revised paper accepted for publication for accepted paper revised Reviews sent to author to sent Reviews : 14-4-2020; : 30-7-2020

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 75 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 76 Eisenstein Gibbs Encalada Costa Collin Connelly Coco Carrasco Bugeja Castro Brandes Aldama Agredano-Lozano Chesnut Chinita . Dir. Lee Unkrich & Adrian Molina, performances by Anthony Gonzalez, Gael García Bernal Bernal García Gael Gonzalez, byAnthony performances Molina, &Adrian Unkrich . Dir. Lee , John, & Douglas Pye &Douglas , John, , Maria Helena Braga eVaz Costa da Braga Helena , Maria The Long Take: Critical Approaches Long Critical The Take: “A of Meanings: , Nicholas. Multitude The Sydney Morning Herald Morning Sydney The Death.” Truth about the Need “Children , Robbie. , Elizabeth. “When Coco “When , Elizabeth. The Routledge Routledge The Culture.” Popular Pop Latino/a the in Putting “Introduction: Luis. , Frederick , Fátima. “Sergei Eisenstein as Seen by Peter Greenaway: A Dialectic Representation of an of an Representation ADialectic byPeter Greenaway: Seen as Eisenstein “Sergei , Fátima. Skulls to the Living, Bread to the Dead: The Day of the Dead in Mexico and Beyond and in Mexico Dead the of Day The Dead: the to Bread Living, the to Skulls , Stanley. 19 2017. Dec 6/1 (2011): https://repositorio.ufrn.br/jspui/handle/123456789/19307 333-346, Critical Approaches Critical 19 Apr. 2020. Accessed www.frasercoastchronicle.com.au/news/movie-review-pixars-coco-is-a-fiesta/3273776/ 1957. Meridian, Jay 251-255. Leyda, trans. Leyda, 20180119-h0l8my.html https://www.smh.com.au/entertainment/movies/children-need-the-truth-about-death- https://search.proquest.com/docview/1989114122 & Benjamin Bratt, Walt Disney Pictures, 2017. Pictures, Walt Disney Bratt, & Benjamin doi: 10.1080/14484528.2019.1548251. pye/ a-multitude-of-meanings-the-long-take-critical-approaches-ed-john-gibbs-and-douglas- Pye Approaches Long Critical of The Take: Pye.” Review Douglas Blackwell, 2006. (Spring 2014):(Spring https://revista.drclas.harvard.edu/book/death-la 2-6 Companion to Latina/o Popular Culture (Anti-)Great Film Director.” Life Film Writing (Anti-)Great ProQuest 33-38. (2018): 30 Policy of Hispanic Journal School Kennedy Harvard The Molina. &Adrian Unkrich edu/book/death-la 13/3 2014): (Spring America https://revista.drclas.harvard. Latin of 78-80. Review Harvard calavera/ com/folklife/meet-mexicos-trinity-of-death-day-of-the-dead-santa-muerte-and-catrina- #FolkloreThursday Calavera.” Catrina and Muerte, , Andrew, & David Metcalfe &David , Andrew, , Javier. “Movie Review: Pixar’s Coco Pixar’s Review: “Movie , Javier. , Brendon. “Lee Unkrich Interview: Directing Coco Directing Interview: Unkrich “Lee , Brendon. 13/ 3 3 13/ America Latin of Review ReVista: Harvard Carnival.” of Paradox “The , David. Que Viva Mexico! of Que Outline “First , Sergei. 90 (Mar. 2019) (Mar. 90 http://www.sensesofcinema.com/2019/book-reviews/ Cinema of . Senses . Accessed 12 Apr. 2020. . Accessed . Accessed 5 May 2020. 5May . Accessed ReVista: ReVista: Celebration.” aLiving Muertos, Los de Días L.A.: in “Death , Felipe. , https://search.proquest.com/docview/2187897395 . Accessed 20 Mar. 2020. Mar. 20 . Accessed . Eds. John Gibbs & Douglas Pye, Palgrave Macmillan, 2017. Macmillan, 1-26. Palgrave Pye, &Douglas Gibbs John . Eds. The Long Long The Approaches.” Take: Long 1: The Take–Critical . “Introduction . Accessed 5 Mar. 2020. 5Mar. . Accessed Feels like Home: Film as Homenaje.” Review of Coco Homenaje.” as Review Home: Film like Feels WORKS CITED WORKS . “Meet Mexico’s Trinity of Death–Day of the Dead, Santa Santa Dead, of the of Death–Day Mexico’s Trinity . “Meet . “Color in Films: A Critical Overview.” Crítica Cultural Overview.” ACritical Films: in . “Color Fraser Coast Chronicle Coast Fraser aFiesta.” Is . Ed. Frederick Luis Aldama, Routledge, 2016. 1-19. Routledge, Aldama, Luis Frederick . Ed. 16/2 (2019): 177-193. Taylor and Francis Online .” .” The Film Sense, by Sergei Eisenstein Sergei by Sense, Film The . Accessed 4Apr. 2020. . Accessed , 25 Oct. 2018,, 25 Oct. http://folklorethursday. .” .” 19 2018. Jan. Geek! of Den ProQuest, . Eds. John Gibbs & Douglas &Douglas Gibbs John . Eds. . Accessed 20 Mar. 2020. Mar. 20 . Accessed . , 7 Dec. 2017,, 7Dec. https:// , ed. John Gibbs & Gibbs John , ed. , 26 Jan. 2018, Jan. , 26 . Accessed . Accessed , dir. Lee Lee , dir. . Ed. Jay . Ed. . . ,

Rodriguez Robertson Viva Mexico! ¡Que O’Mahony Olaf’s Frozen Adventure Olaf’s Noble Neale Montes Menard Marchi Kyriazis , Terry.Gross “ UNESCO-Intangible Cultural Heritage UNESCO-Intangible Dead.” the to Dedicated Festivity “Indigenous Harrison Irazábal Gomez , Steve. “Introduction 2: The Long Take–Concepts, Practices, Technologies, and Histories.” Histories.” and Technologies, Practices, Long The 2: Take–Concepts, “Introduction , Steve. ¡Que Viva México! ¡Que through “Seeing , Andrea. , Luis. “Oscars 2018: How SDSU Alumnus Lalo Alcaraz Helped Coco Helped Alcaraz Lalo 2018: How Alumnus “Oscars SDSU , Luis. Day of the Dead in the USA: The Migration and Transformation of a Cultural Cultural of a and Transformation Migration The USA: the in Dead the of Day M. , Regina de Oca, Rosa Isela Aguilar. “The Day of the Dead: One Ritual, New Folk Costumes, and Costumes, Folk New Ritual, One Dead: the Day of “The Aguilar. Isela Rosa Oca, de , David George. “Toward a Synthesis of Cinema–A Theory of the Long Take Moving Long Moving the Take of Theory of Cinema–A “Toward aSynthesis George. , David , Stefan. “ , Stefan. html 11 2013, May https://edition.cnn.com/2013/05/10/us/disney-trademark-day-dead/index. Tauris Academic Studies, 2009. Studies, Tauris Academic Menzel & Kristen Bell. Walt Disney Animation Studios, 2017. Studios, Animation Walt Disney Bell. &Kristen Menzel doi: 10.1080/14701840601085022. Iberian and Latin American Studies 41. 27- 2017. Approaches Long Critical The Take: FEJF2016.66.aguilar. Old Identities.” docview/2064799094 1.” Part Camera, Phenomenon 9 May 2020. 9 May Frozen-Olaf-sequel-short-REMOVED-from-Coco-screenings-Disney-Let-It-Go doi:10.1177/1206331210374147. Space and Culture California.” Southern in coco-review-2/ Let It Go?” It Go?” Let htmlstory.html the-conversation/sd-meet-lalo-alcaraz-san-diego-state-alumnus-worked-on-coco-20180305- San Diego Union-Tribune 2018. 2018. 2020. unesco.org/en/RL/indigenous-festivity-dedicated-to-the-dead-00054 , Clara, & Grace R. Dyrness R. &Grace , Clara, , Charlotte. “ , Charlotte. Eisenstein on the Audiovisual: The Montage of Music, Image and Sound in Cinema in Sound and Image of Music, Montage The Audiovisual: the on Eisenstein , Robert. , Mike. Sergei Eisenstein , Mike. , Cindy Y. “Day of the Dead Trademark Request Draws Backlash for Disney.” for CNN Backlash Draws Request Trademark Y. Dead , Cindy of the “Day . Accessed 22 May 2020. May 22 . Accessed Coco ProQuest, . Dir. by Sergei M. Eisenstein, 1931. Eisenstein, M. . Dir. bySergei Frozen Filmmakers Explore the ‘Connection to Loved Ones Past.’” Air Fresh Ones Loved to ‘Connection the Explore Filmmakers Express . Rutgers UP, 2009. . Rutgers Coco . Dir. by Kevin Deters & Stevie Wermers, performances by Josh Gad, Idina Idina Gad, byJosh Wermers,performances &Stevie Deters . Dir. byKevin . Accessed 6 May 2020. 6May . Accessed . Accessed 19 Apr. 2020. . Accessed Short Removed from Coco from Removed Short https://search.proquest.com/docview/1986225087 66 (2016): 66 95-114. Folklore of Journal doi: 10.7592/ Electronic Folklore: Den of Geek of Den Review.” , 4 Dec. 2017,, 4 Dec. Offscreen . , 5 Mar. 2018,, 5 Mar. https://www.sandiegouniontribune.com/opinion/ . Reaktion Books, 2008. Books, . Reaktion 7/8 2003). (Aug. . “Promised Land? Immigration, Religiosity, and Space Space and Religiosity, Immigration, Land? . “Promised https://www.express.co.uk/entertainment/films/887334/ . Eds. John Gibbs & Douglas Pye, Palgrave Macmillan, Macmillan, Palgrave Pye, & Douglas Gibbs John . Eds. 12/2-3 (2006): 173-187. 12/2-3 (2006): Taylor and Francis Online , 19 2018, Jan. https://www.denofgeek.com/movies/ Screenings: Audience Backlash Forced Disney to to Disney Forced Backlash Audience Screenings: 13/4 2010): (Aug. 356-375. SAGE Journals Journal of of Journal Mexico.” Travels in : Eisenstein’s ProQuest, https://search.proquest.com/ . Accessed 10 Apr. 2020. . Accessed The The Mexican.” Feel . Accessed 18 Apr. . Accessed , https://ich. . Accessed , 10 Jan. , . , ,

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 77 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 61-78 78 Udden Totaro Spectre Vassilieva Smith Ugwu Sinclair Rose Shepherd Salazkina Shujaa , Steve. “ , Steve. . Dir. Sam Mendes, performances by Daniel Craig, Christoph Waltz & Léa Seydoux, B24, 2015. Seydoux, &Léa Waltz Christoph Craig, by Daniel performances Mendes, . Dir. Sam , Reggie. “How Pixar Made Sure Coco Sure Made “How Pixar , Reggie. , Paul Julian. “Letter from Mexico City.” Mexico Film from Quarterly “Letter Julian. , Paul , James. “Child of the Long Take: Alfonso Cuaron’s Film Aesthetics in the Shadow of Shadow the in Aesthetics Cuaron’s Film Take: Alfonso Long of the “Child , James. The SAGE Encyclopedia of African Cultural Cultural African of SAGEEncyclopedia Dead).” of the The (Day Muertos los J. de “Día , Kenya , Donato. “Visual Style in M. Night Shyamalan’s ‘Fantastic’ Trilogy: The Long Long The Take.” Trilogy: ‘Fantastic’ Shyamalan’s Night M. in Style “Visual , Donato. Sergei Eisenstein and Upton Sinclair: The The Sinclair: Upton [Smirnov].” and Comrade 19, Upton. 1932. Eisenstein “Dear Mar. Sergei Globalization.” Globalization.” doi: 10.1525/fq.2014.67.2.57. Offscreen 80/10304312.2010.505336. Judgement.” 22 May 2020. Nov. 2017, https://www.nytimes.com/2017/11/19/movies/coco-pixar-politics.html docview/220119566 Indiana UP, 1970.Indiana 305-310. Viva Mexico! Que of Unmaking and Making Guardian that-defies-trumps-anti-mexican-rhetoric SAGE Knowledge SAGE 359. Heritage in North America 2020. news/james-bond-spectre-mexico-city-day-dead-parade-a7382471.html The Independent , Jack. “James Bond: Mexico City to Hold First Day of the Dead Parade Thanks to Thanks Parade Dead of the Day Hold to First City Mexico Bond: “James , Jack. In Excess: Sergei Eisenstein’s Mexico Eisenstein’s Sergei In Excess: , Masha. Through Time: Historicizing Value Historicizing Time: Through Viva México! Eisenstein’s “Sergei , ¡Qué Julia. Coco 7/11 (Nov. 2003). ProQuest , 15 2018, Jan. https://www.theguardian.com/film/2018/jan/15/coco-the-film- : The Pixar Film That Defies Donald Trump’s Anti-Mexican Rhetoric.” The Trump’sAnti-Mexican Donald Defies That Film Pixar : The Continuum , 27 Oct. 2016, Oct. , 27 https://www.independent.co.uk/arts-entertainment/films/ Style . 43/1 (Spring 2009): 26-44. ProQuest 26-44. 43/1 2009): (Spring , doi: 10.4135/9781483346373.n113. 24/5 (Oct. 2010): 24/5 (Oct. 693-705. Taylor and Francis Online . Eds. Mwalimu J. Shujaa & Kenya J. Shujaa, SAGE, 2015. SAGE, J. Shujaa, &Kenya J. Shujaa 358- Mwalimu . Eds. The New New Times York The Conscious.” Was Culturally , https://search.proquest.com/docview/2064799140 . Accessed 16 Apr. 2020. . Accessed . Eds. Harry M. Geduld & Ronald Gottesman, Gottesman, &Ronald Geduld M. Harry . Eds. . U of Chicago P, 2009. . Uof Chicago 67/2 (2013): 57-58. JSTOR , https://search.proquest.com/ . Accessed 7 Jun. 7Jun. . Accessed , doi:10.10 , . Accessed . Accessed Spectre , 19 .” .” . ,