The Doll in the Late-Francoist Imaginary. About <em>No es bueno que el hombre esté solo</em>

Abstract

This article deals with the issue of the doll as figure of the dead beloved by analysing Pedro Olea’s film No es bueno que el hombre esté solo, a movie that presents an allegory of gender relationships under francoism. Throughout this analysis shall be reviewed the way in which the film articulates the sublimated fantasy of the melancholic protagonist, who do not resign himself to leave his object of desire and ends up fictionalising an everyday life with the doll in which recreates the normative and official values of the domestic ideology. The film shows the decline of the gender discourse under Franco through concepts such as uncanny or melancholy, both associated with trauma and characterized by revealing the capacity of the daily life to become strange and disturbing.