Theology Gone Pink: A Consideration of Greta Gerwig’s Barbie
Gerwig’s Barbie film addresses social concerns regarding sexism and responds to interpretations of Genesis and the roles of men and women. The film argues that women should not rely on or find fulfilment with a man. However, while Ken and Barbie each forge their own paths at the film’s end, the real...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2024
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| In: |
Religion and the arts
Year: 2024, Volume: 28, Issue: 3, Pages: 351-356 |
| Further subjects: | B
Barbie
B Christianity B Gerwig |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | Gerwig’s Barbie film addresses social concerns regarding sexism and responds to interpretations of Genesis and the roles of men and women. The film argues that women should not rely on or find fulfilment with a man. However, while Ken and Barbie each forge their own paths at the film’s end, the real world continues to suffer from underground patriarchy and Barbie Land resumes functioning like a matriarchy. Gerwig draws attention to the social reform needed for true gender equality to exist, yet the film’s ending shows a distancing from the problem rather than a leaning into it. The Genesis account is often rejected because it is incorrectly interpreted as a patriarchal structure of man’s dominion over women; however, when viewed as an example of an egalitarian relationship, it offers positive visions for society. This requires resisting a narrative of hyper-individualism to right social wrongs and instead adopting a posture of egalitarian goodwill that bolsters the common good. |
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| ISSN: | 1568-5292 |
| Contains: | Enthalten in: Religion and the arts
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| Persistent identifiers: | DOI: 10.1163/15685292-02803005 |