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Baroque Tragedy and the Cinema
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Baroque Tragedy and the Cinema

A special issue of Humanities (ISSN 2076-0787). This special issue belongs to the section "Film, Television, and Media Studies in the Humanities".

Deadline for manuscript submissions: closed (17 November 2024) | Viewed by 1625

Special Issue Editor

Dr. Alice Mikal Craven

E-Mail Website
Guest Editor
Department of English and Comparative Literature, Faculty Film Studies, The American University of Paris, 75007 Paris, France
Interests: cinema and literature; brecht and the baroque; shakespeare and film; black american expatriates in Paris
Special Issues, Collections and Topics in MDPI journals

Special Issue Information

Dear Colleagues,

Baroque tragedy is a vibrant scholarly field that entered the interdisciplinary realm in the mid-to-late 20th century once scholars began to concentrate on its affinities with the illusory tactics of cinema. Indeed, cinema affords space for overlaying metaphors and the trompe l'oeil effect central to Baroque practice. Walter Benjamin, Bertolt Brecht, Wlad Godzich, Nicholas Spadaccini, and Gilles Deleuze were exceptional in exploring these connections, while filmmakers such as Raul Ruiz equally articulated the role of mnemonics in Baroque tragedy and cinema. For this Special Issue, we invite the submission of exploratory papers on select Baroque tragedies and the stylistic particulars that distinguish them from Renaissance works, films or filmmakers whose style can be read as baroque, scholars who have contributed to the crucial linking of the Baroque aesthetician with cinematic theory and practice, and how cinematic practice allowed for a renewed interest in Baroque tragedy.

You are invited to contribute papers on topics including but not limited to the following:

  1. The relation between the historical Baroque and the contemporacy of Baroque style in cinema;
  2. Authors' critique analysis of films often cited as Baroque;
  3. Critiques of films considered but not noted by others as Baroque but shown as Baroque by the authors of the articles; 
  4. Close analysis by theorists who have written on Baroque and Cinema. Examples are Merleau-ponty, Guy Scarbitta, Wolfflin, or Deleuze.

Abstracts (200-300 words) are also welcome and should be sent to the Editor Alice Mikal (email acraven@aup.edu) by June 30th. For papers to be considered for publication, additional information will be required by November 17th. These papers will also be peer-reviewed. Please do not hesitate to contact us if you have any questions.

Dr. Alice Mikal Craven
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Humanities is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • baroque
  • tragedy
  • illusion
  • cinema
  • film theory

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Published Papers (1 paper)

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Research

16 pages, 7083 KiB  
Article
Almodóvar’s Baroque Transitions in the Early Films (1980–1995)
by Frederic Conrod
Humanities 2025, 14(1), 1; https://doi.org/10.3390/h14010001 - 26 Dec 2024
Viewed by 1080
Abstract
Spanish film director Pedro Almodóvar has been detected early on by film critics as a Baroque filmmaker, a qualification to which he has agreed in interviews. This promotion of his style is certainly questionable as the word ‘Baroque’ is often used outside of [...] Read more.
Spanish film director Pedro Almodóvar has been detected early on by film critics as a Baroque filmmaker, a qualification to which he has agreed in interviews. This promotion of his style is certainly questionable as the word ‘Baroque’ is often used outside of its artistic and historical contexts. It is undeniable, however, that there are many Baroque features in his tragicomedy. One of the key aspects that ties Almodóvar’s early films to Baroque art is their exaggerated and melodramatic storytelling. Like Baroque art, which often featured grandiose and emotionally charged narratives, Almodóvar’s films are filled with intense emotions, complex relationships, and larger-than-life characters. This exaggerated portrayal of human emotions and experiences is a hallmark of Baroque aesthetics, which sought to evoke strong emotional responses from the audience. This paper seeks to focus exclusively on the rise of the director’s style in the last two decades of the 20th century that corresponds to Spain’s problematic and somewhat tragic transition from dictatorship to democracy and explore the ‘Baroque transitions’ that led Almodóvar to national, European and international recognition prior to the obtention of the Academy Awards he received for “All about my mother” in 2000. After defining the Baroqueness of his early filmography, this article will take a closer look at the ricochet trajectory he designed for actors such as Carmen Maura, Victoria Abril, and Antonio Banderas, who will all act in several corresponding roles and embody characters in transition, before becoming emblematic for the public. In the tradition of the Spanish Baroque, Almodóvar will develop his tragic outlook on his ever-changing culture around these iconic actors who will, in turn, unfold the complexity of the transition years for Spanish women and men. Full article
(This article belongs to the Special Issue Baroque Tragedy and the Cinema)
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