From Pinnochio to Chucky, Otamere traces the history and cultural relevance of the doll today
). Posed in victory and splendour, their resemblance to us perhaps bestows a capacity to uniquely hold our hopes to be transfigured into greatness – like Old Testament Adam – through supernatural intervention.
But it is precisely this anthropomorphism that means that dolls cannot simply be relegated to the realm of other beloved yet banal objects. Historically, they have often been deeply reckoned tokens, votives, talismans of power, central figures of myths, morality tales, and superstition. “As long as people have had dolls,” Etellan continues, “they have either loved or feared them ...
Beyond the juvenalia of make-believe, dolls offer an escape, a transcendence of simple realities; the construction of a world within and around themselves. Much of this lingering, underlying suspicion of dolls goes a long way , to explain the persistent misapprehension of the role and function of the now infamous ‘voodoo doll’. It is a creation with deep roots in Haitian tradition, widely misunderstood as an object of malevolence, and not as a talisman for serving and communing with spirits.
And yet our excitement – our fascination – with the doll persists beyond even the objects themselves. It is an affinity that infiltrates not just the world of cinema but all corners of our popular culture: our identities, philosophies, and the lexicon by which we describe and embody all of these things. “Dolls” or “the dolls” in transfeminine culture have come to be a moniker circumscribing its own particular and bright set.
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