This chapter places Sergei Eisenstein's images in relation to the anthropological discourse on Mexican postrevolutionary state ideology. It focuses on Jose Vasconcelos, Roberto Montenegro and Adolfo Best Maugard as some of its key ideologues. It looks at the representation of the indigenous in ¡Que Viva Mexico! pointing out ways in which it was linked to the Mexican muralist project and explores Eisenstein's visual and narrative synthesis of pre-Columbian culture in its inherent claim to permanence with the ultramodern and the iconoclastic revolutionary impulse.