The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz

Given the remarkable financial success of Greta Gerwig’s film, its perceived merits and shortcomings need to be examined in order to determine what caused the significant social media attention, which included both substantial praise and sharp criticism. Starting from an overview of the Barbie-doll’...

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Main Author: Preda Alina
Format: Article
Language:English
Published: Sciendo 2024-12-01
Series:Gender Studies
Subjects:
Online Access:https://doi.org/10.2478/genst-2024-0002
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author Preda Alina
author_facet Preda Alina
author_sort Preda Alina
collection DOAJ
description Given the remarkable financial success of Greta Gerwig’s film, its perceived merits and shortcomings need to be examined in order to determine what caused the significant social media attention, which included both substantial praise and sharp criticism. Starting from an overview of the Barbie-doll’s evolution over the years and relying on the mixed reception enjoyed by the film Barbie (2023), this article provides an analysis of how its director incorporates the feminist ideology, evaluates its effectiveness in harnessing the empowering aspects of the feminist discourse, and attempts to pinpoint the specific type of feminism it embraces. The aim is to scrutinise the claim that this production is nothing more than the epitome of insidious faux feminism, shamelessly brandished by the media industry to disguise its commercial objectives whilst posing as harbingers of progressive social change.
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spelling doaj-art-907f9e27c6564d739ed79fca1e25fc462025-08-20T02:51:48ZengSciendoGender Studies2286-01342024-12-0123152510.2478/genst-2024-0002The Perfect Feminist Movie Does Not Exist: Screening the Barbie BuzzPreda Alina0Babeș-Bolyai UniversityGiven the remarkable financial success of Greta Gerwig’s film, its perceived merits and shortcomings need to be examined in order to determine what caused the significant social media attention, which included both substantial praise and sharp criticism. Starting from an overview of the Barbie-doll’s evolution over the years and relying on the mixed reception enjoyed by the film Barbie (2023), this article provides an analysis of how its director incorporates the feminist ideology, evaluates its effectiveness in harnessing the empowering aspects of the feminist discourse, and attempts to pinpoint the specific type of feminism it embraces. The aim is to scrutinise the claim that this production is nothing more than the epitome of insidious faux feminism, shamelessly brandished by the media industry to disguise its commercial objectives whilst posing as harbingers of progressive social change.https://doi.org/10.2478/genst-2024-0002feminist rhetoricglobal capitalismintersectionalityneoliberalismbarbenheimer
spellingShingle Preda Alina
The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz
Gender Studies
feminist rhetoric
global capitalism
intersectionality
neoliberalism
barbenheimer
title The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz
title_full The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz
title_fullStr The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz
title_full_unstemmed The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz
title_short The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz
title_sort perfect feminist movie does not exist screening the barbie buzz
topic feminist rhetoric
global capitalism
intersectionality
neoliberalism
barbenheimer
url https://doi.org/10.2478/genst-2024-0002
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