Yakalı Dikmen
Department of General Culture Courses, Izmir Institute of Technology (IZTECH), Izmir, Türkiye.
Front Sociol. 2024 Apr 5;9:1320774. doi: 10.3389/fsoc.2024.1320774. eCollection 2024.
Scholars have consistently explored Barbie in various contexts, often subjecting it to critical analysis. However, the release of the Barbie 2023 Movie has shifted our focus from Barbie to Ken, marking the first occasion when Barbie has provided a platform for exploring representations of masculinity both in the patriarchal society and in popular culture. This article aims to investigate how the 2023 Barbie movie deconstructs symbols of hegemonic and toxic masculinity and its performative aspects within the framework of (post)feminist discourse. It examines how the movie satirically employs symbols of traditional, hegemonic masculinity to challenge normative masculine ideals prevalent in our patriarchal society. The movie -through its popularity- significantly contributes to mainstream postfeminist media culture, creating a platform where discussions on masculinity, its associated crises, and the broader gender wars, along with their existential ramifications, become unavoidable. Exploring the ways masculinities are problematized and contested within postfeminist media culture, I argue that Ken, within this narrative, is positioned as the latest icon of postfeminist masculinity, symbolizing a critical juncture in the ongoing discourse on gender roles and identities.
学者们一直在各种背景下探讨芭比娃娃，并且常常对其进行批判性分析。然而，2023年《芭比》电影的上映将我们的关注点从芭比转向了肯，这是芭比首次为探讨父权社会和流行文化中的男性气质呈现提供了一个平台。本文旨在研究2023年的《芭比》电影如何在（后）女权主义话语框架内解构霸权和有毒男性气质的象征及其表现层面。它考察了这部电影如何以讽刺的方式运用传统霸权男性气质的象征来挑战我们父权社会中盛行的规范性男性理想。这部电影凭借其受欢迎程度，对主流后女权主义媒体文化做出了重大贡献，创造了一个平台，在这个平台上，关于男性气质、其相关危机、更广泛的性别战争以及它们的生存影响的讨论变得不可避免。通过探索后女权主义媒体文化中男性气质如何受到质疑和争议，我认为在这个叙事中，肯被定位为后女权主义男性气质的最新象征，代表了关于性别角色和身份的持续话语中的一个关键转折点。
