Abstract I argue that the trope of the doll, recurrent throughout the films of Manoel de Oliveira, is a visual figure that beyond narrative becomes a discourse on modernity and modernism, stillness and movement, life and death. Accordingly, I propose an overview of occurences of dolls and of “dollness” throughout the work of Oliveira – from Aniki Bobó (1942) to The Strange Case of Angelica (2010) – with the aim of tracking the line of transformations of an emblematic object into an aesthetic principle, a central figure involving psychoanalytical concepts such as the Freudian “uncanny,” the fetish or the transitional object.

中文翻译：

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不可思议的电影院，不可思议的电影院。Manoel de Oliveira电影中的娃娃的悲剧

摘要我认为，在Manoel de Oliveira的电影中反复出现的洋娃娃的寓言是一个视觉形象，超越了叙事，成为关于现代性和现代主义，静止与运动，生与死的论述。因此，我提出了奥利维拉整个作品中玩偶和“玩偶”的发生情况的概述-从安妮基·波波（1942）到《当归的奇怪案例》（2010）–目的是追踪一个象征性物体的转变路线在美学原则上，涉及心理分析概念的中心人物，例如弗洛伊德的“怪异”，恋物癖或过渡对象。