《社科汉语研究》

摘要：大获成功的电影《芭比》通过描述 “真实而不完美” 的女性形象被誉为女权主义的作品。本文通过 “流行女权主义” （Popular feminism） 概念深入探讨《芭比》对于女权主义运动的影响。作者发现流行女权主义有助于理解这部电影的广受喜爱的原因。此外，《芭比》忽视了关于种族、阶级和非异性恋本位的多元交叉（Intersectionality），将女性不平等的问题简化为单一的“性压迫”。由女演员罗比扮演的 “刻板芭比” 在电影中使用了属于新自由主义的价值观来看待男权制社会的问题，与后女权主义（Postfeminism) 相似。然而，个人选择和企业家精神无法有效地针对制度问题的根源。最后，虽然《芭比》试图评判“商业化女权主义”（Commodity feminism），但作为一件流行的文艺商品，它仍是商业化女权主义的产物; 这正契合了“流行女权主义”。

Abstract: This article aims to provide a critical analysis of the film Barbie (2023), primarily carried out through the lens of popular feminism. The conjunction of popular feminism with commodity feminism is further used to explain the capitalist success of Barbie (2023), which had thereby hindered the construction of a radical feminist imagination. In particular, popular feminism helps to make sense of the film’s popularity and the pockets of misogynistic backlash that follow. Through application of popular feminism theory, we are able to acknowledge that intersectional differences concerning race, class and non-heteronormativity are overlooked in the film, leaving the sole understanding of women’s oppression as sexual oppression (Hemmings, 2018). Along similar lines, the film scarcely acknowledges structures of oppression, and operates largely within the confines of neoliberal values of individualism and entrepreneurialism. As such, Barbie (2023) can be found guilty of creating a false illusion that the resolution to patriarchy is subjectively found in each woman’s individual decisions (Banet-Weiser, 2018). While the film makes an attempt to critique commodity feminism, its tokenistic efforts are ultimately undermined by the irony of the film as a physical manifestation of commodified feminism. Through this study, I hope to offer a new feminist take on the widely renowned ‘feminist’ film, Barbie (2023).