ART HISTORY / CINEMA / PHOTOGRAPHY
Marta Piñol-Lloret holds a PhD in History of Art from the University of Barcelona, where she teaches two subjects on film history, Historia del Cine: El cine de los orígenes (History of Cinema: Early Cinema) and Historia del Cine: El cine clásico (History of Cinema: Classic Cinema), and one on the History and Theory of Photography (Historia y teoría de la fotografía). She also teaches Art and History (Arte e Historia) in the History Department at the same university. And she is also a guest lecturer at the Escola Superior de Cinema I Audiovisuals de Catalunua (ESCAC), where she teaches the subject Cultura Visual y Cinema: Dirección Artística (Visual Culture and Cinema: Production Design).
Dr. Piñol-Lloret holds a bachelor’s degree in History of Art and a master’s degree in Advanced Studies in Art History, both from the Universitat de Barcelona; in both cases she was awarded the University’s Extraordinary Prize. Her doctoral thesis, supervised by Dr. José Enrique Monterde, was entitled Cine y movimientos migratorios: La representación del exilio y la emigración española hacia Europa (1939–2016) (Cinema and migratory movements: representation of exile and Spanish economic emigration towards Europe [1939–2016]), and her thesis also awarded the University’s Extraordinary Prize, as well as the price for the best thesis presented at the University of Barcelona in 2017 (Premi Claustre de Doctors).
She received the Ministry of Education’s University Teaching Staff Training Grant for her thesis preparation and obtained the grade of distinction cum laude, as well as the aforementioned awards. She has given numerous talks, participated in many national and international conferences, and published many papers and book chapters, focused mainly on cinematographic and audiovisual topics. She has a particular interest in cinematographic representations of themes with social roots; the relationships between painting, architecture, and cinema associated with artistic direction; constructions of science fiction imaginaries; history of art; video art; and new media art.
As an author, she has published the following books: Europa como refugio. Reflejos fílmicos de los diversos exilios españoles (1939–2016) (Europe as a refuge: Film reflections of Spanish exiles [1939–2016]) (Edicions de la Universitat de Barcelona, 2020) and Con las maletas a otra parte: la emigración española en el cine (With suitcases to somewhere else: Spanish emigration in cinema) (Sans Soleil Ediciones, 2020).
In addition, Dr. Piñol-Lloret has edited the following works: Futuros desde el presente: la ciencia ficción en el cine contemporáneo (Futures from the present: science fiction in contemporary cinema) (Sans Soleil Ediciones, in press, 2019), Relaciones ocultas: Símbolos, alquimia y esoterismo en el arte (Occult relations: symbols, alchemy, and esotericism in art) (Sans Soleil Ediciones, 2018), Monstruos y monstruosidades: Del imaginario fantástico medieval a los X-Men (Monsters and monstrosities: from the medieval fantastic imaginary to the X-Men) (Sans Soleil Ediciones, 2015). She has translated and edited with commentary El Greco, de S. Eisenstein (El Greco, by S. Eisenstein) (Sans Soleil Ediciones, 2014). With Dr. José Enrique Monterde, she coedited the book Crónica de un desencuentro (Account of an estrangement) (IVAC, 2015). She won a prize for best conference paper (La influencia del Greco en la producción cinematográfica de Sergei Eisenstein: una propuesta de análisis fílmico [El Greco’s influence on Sergei Eisenstein’s cinematographic output: a proposal for film analysis]) at the prestigious XX Congreso Nacional Historia del Arte (CEHA): El Greco en su IV Centenario: Patrimonio Hispánico y Diálogo Internacional (2014) (Twentieth National History of Art Conference [CEHA]: El Greco on his Fourth Centenary: Spanish Heritage and International Dialogue) (published in: Almarcha, E.; Martínez-Burgos, P.; Sainz, E. [Eds.]: El Greco en su IV Centenario: Patrimonio hispánico y diálogo intercultural. Toledo: Universidad de Castilla la Mancha, 2016, p. 413–424).
She also focused on the relationship between cinema and painting at the Simposi Internacional: Bosch al País de l’Art (2016) (International Symposium: Bosch in the Country of Art), with the talk El Bosco a través del videoart: una relació experimental (Bosch through video art: an experimental relationship) (published in Revista Matèria: Bosch al país de l’art, vol. 10-11., 2016, p. 327–345). She analyzed artistic direction and Art Nouveau cinematographic references at the coupDefouet III International Congress on Art Nouveau (2018) in a paper entitled Art Nouveau as a catalyst for exoticism in films of the 20s: L’Atlantide (Jacques Feyder, 1921), Salomé (Charles Bryant, 1923) and The Thief of Bagdad (Raoul Walsh, 1924) (conference papers, in press, Ediciones de la UB).
Dr. Piñol-Lloret has participated in various research projects funded by Spanish government agencies, such as Arte, arquitectura y sociedad digital (Art, architecture and digital society) (2017–2021), La modernidad cinematográfica en España: asimilación y recepción (Cinematographic modernity in Spain: assimilation and reception) (2013–2015), or El Pensamiento Cinematográfico en España (Cinematographic Thought in Spain (2019-2022), among others. She has supervised numerous bachelor’s degree and master’s degree final projects and doctoral theses. In addition, she was director of the journal Revista Sans Soleil – Estudios de la Imagen (ISSN: 1889-7290) from 2013 to 2017.
She has been a visiting researcher at the Université Toulouse II Jean Jaurès, as well as she won the Harry Ransom Center Research Fellowship in the Humanities, supported by the Warren Skaaren Film Research Endowment, The University of Texas at Austin.