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Goodbye, Mr. Marshall: The Dreamworld Of Francoism, Alejandro Yarza

Teatro: Revista de Estudios Escénicos / A Journal of Theater Studies

This essay examines the symbolic use of dreams in Bienvenido Mr. Marshall (1953) by Luis García Berlanga. During Francoism, oppositional filmmakers strategically planted dream sequences such as those of Bienvenido to bypass Francoist censorship, smuggling through classical Freudian dream-work distortion—condensation, displacement, symbolization—subversive ideological and political contents. Despite their critical importance, Bienvenido’s dreams have never been adequately examined. The dreams, I argue, hold the key to interpreting a film that, due to its apparent ideological ambiguity—needed to avoid the sharp scissors of Franco’s censors—has been understood both as a conservative film, upholding Francoist fascist values, and as a subversive film, undermining …