Barbie is a film that enters into the feminist conversation, aiming to address issues that have long plagued our society. However, while the film tackles essential themes, it doesn't break new ground in feminist discourse. Nevertheless, it does bring an interesting blend of existentialism and symbolism into the mix, raising questions about identity, self-discovery, and societal constructs.
The film's feminism is undoubtedly important, but it doesn't introduce revolutionary ideas. It revisits the age-old struggle of women in a society dominated by unrealistic beauty standards and gender roles. Barbie, the protagonist, represents the epitome of these unrealistic standards. She's the embodiment of perfection, which she grapples with throughout the film. However, the film doesn't offer any groundbreaking insights into these issues; instead, it serves as a reminder of the ongoing battle for gender equality and self-acceptance.
What sets Barbie apart from traditional feminist narratives is its flirtation with existentialism. One of the most powerful lines in the film is when Barbie asks, in the middle of a song and dance routine, "Do you guys ever think about dying?" Because Barbie and Ken are depicted as objects in a materialistic world, we, as well as the other Barbies and Kens, are not prepared for such a profound question. The existence of those who live in Barbieland revolves around their appearances and possessions, mirroring the existentialist idea that individuals are defined by their actions and choices rather than external factors. Barbie's question is the beginning of a journey to discover her true self and purpose in a world that objectifies her and echoes existentialist themes of self-authenticity and individuality.
The concept of Barbieland as Plato's Cave is a clever metaphor. In Plato's allegory, people are imprisoned in a cave, only able to see shadows on the wall, which they mistake for reality. Similarly, Barbie's world seems perfect at first glance, but she gradually realizes it's a facade, a distorted perception of reality. Her voyage to the "Real World" is replete with uncomfortable discoveries and disturbing realizations. Barbie's quest to find the creator represents her desire to escape this illusion and discover the truth about her existence.
In Barbie's meeting and later discussion with Ruth Handler, her creator, we can see that their interaction is Barbie's attempt to find external meaning in a universe that is indifferent to human concerns. The quest for the creator raises fundamental questions about the nature of reality. It prompts inquiries into the nature of existence, causality, and the ultimate source of all that is. Barbie's questions for Ruth are closely tied to questions about the meaning of life and the individual's place in the universe.
Additionally, both Barbie and Ken can be seen as caught in Simone de Beauvoir's Gaze. De Beauvoir's theory revolves around the idea that women are objectified and oppressed by the male gaze. The film, to its credit, reverses the Gaze somewhat. It is Ken who only exists when Barbie sees him. As the narrator tells us, "Barbie has a great day every day, but Ken only has a great day if Barbie looks at him." Both Barbie and Ken are constantly scrutinized and judged based on their appearance. It is Barbie's self-discovery and liberation that allows her to break free from this objectification and establish her identity beyond the gaze of others. Once she achieves this freedom, she helps Ken, and all the other Barbies, to establish their own identity, free from her Gaze and the Gaze of others.
Hegel's Master-Slave dialectic is a complex philosophical concept that explores the dynamics of power, recognition, and self-consciousness in human relationships. As I discussed above, Ken depends on Barbie for his social status and self-esteem and is always seeking her attention and approval. In Hegel's dialectic, both the master and the slave desire recognition from each other. In Ken's case, he desires recognition from Barbie as well as from the other Barbies and Kens. Ken tells Barbie, "I just don't know who I am without you." In Hegel's dialectic, the struggle for recognition eventually leads to a transformation in both the master and the slave. Barbie and Ken come to realize their mutual interdependence and the importance of recognizing each other's humanity. Ken learns that true happiness and fulfillment come from genuine relationships and self-acceptance rather than seeking external validation.
Barbie is a film that touches on important feminist themes, although it doesn't offer any groundbreaking insights. What makes it intriguing for me is its infusion of existentialism and symbolism, transforming Barbie and Ken into symbols of objectification and societal constructs. The film cleverly utilizes Plato's Allegory of the Cave, Simone de Beauvoir's Gaze, and Hegel's Master-Slave Dialectic to shed light on the struggle for authenticity and liberation. While Barbie does not revolutionize feminist discourse, it invites viewers to contemplate the deeper layers of identity and existence beneath its glossy surface and dance numbers.
Comments
Post a Comment