Movie BarbieGreta Gerwig’s work has sparked a great deal of discussion about the models of woman she proposes, or the version of feminism she identifies with.he ilan allen reviewA PhD student in political science at the University of Notre Dame, sees in it a subtle critique of transhumanist perfection and a celebration of real women.
Barbie It is the object of multiple and even conflicting interpretations.Allen commented: “Some see the film as a celebration of motherhood. millennialswhile others see it as an outlet for women’s pain, and still others see it as a call to arms for men.”
In Allen’s view, these explanations understand Barbie Takes it too literally and misses its deeper meaning. According to her, the film contains a “subtle critique of transhumanism” through Barbieland, “a society that deifies femininity” and inhabits “a race of perfect women who rule everything.” This is the fulfillment of the doll slogan “A girl can be what she wants”: barbie land’, “Empowered women can do whatever they decide while still adorning themselves with all the accoutrements of traditional feminine beauty. “
Well, “In the land of Barbie, no one has children or parents, no wrinkles or cellulite” (only one appears Barbie Pregnant, but—as she was remarked—”pregnant dolls are very rare”). “This independence from biological constraints makes Babyland a successful matriarchal society” in which “women are not limited by messy relationships with men or busy parenting”.
country / region Barbie doll It then becomes the result of “a feminism that aspires to empower women (…) beyond their natural human limits”. Confronted with this utopia, the film “points to a more humane feminism that encourages women to accept rather than erase aging, death and motherhood”.
Because “this country has girls’ parties every night, and the ubiquity of pink and goofy men is a fun adventure; but at the end of the day, women want human men, not gentle shells of masculinity”, and ” Paradise in Barbie Country is a scene that calls for the abandonment of humanity. That’s why the main character, Barbie, after learning about the real world, comes to the conclusion that she wants to be human.
“Seeing mother, child, and family finally drove her out of Plastic Nation. Barbie wanted to be part of the family, form relationships, and adopt a human body, but Barbieland couldn’t fulfill those wishes.
For Allen, the film’s deepest insight is that it strikes at the very essence of “pop feminism”: “Praise of women is so relentless that we no longer feel comfortable being a human being with imperfections, fragility, and fertility.” The normal human being.” The vision of reality allows us to discover that “a woman’s body, carrying the possibility of new life and the hope of future death, is a cause for admiration rather than an obstacle to be overcome.”
“Clever, Barbie The feminism she envisions accepts these limitations, respects the humanity of women, and demands that society treat them with great respect. The film argues against “disgusting Barbie fantasies,” stating that “it’s good to be old, to be ‘weird,’ to be a mother, to have a monotonous job, and to still think about death.” These things have no place in the glamor of Barbieland, but they are elements of intelligent living. “