Marketable Femininity and Marketable Feminism in 200 Pounds Beauty (2006) and Barbie (2023)
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200 Pounds Beauty (2006) directed by Yong-Hwa Kim, and Barbie (2023) by Greta Gerwig, despite the nearly two decades between their release dates, employ similar strategies to appeal to their audiences. Each film portrays the protagonist's journey toward a new subjectivity characterized by self-acceptance and empowerment. Their transformation is also a journey toward social acceptance, as they succeed in becoming an ideal self that rejects their previously stigmatized identity. While both films offer some critique of the commodification of women and body image, they ultimately fail to present a genuinely empowering female character. Their portrayals of empowerment through physical transformation reflect postfeminist ideals that often equate women's empowerment with self-discipline and consumer choices. The paper argues that these narratives embody a postfeminist and neoliberal shift in 21st-century gender discourses.
Abstract
200 Pounds Beauty (2006) directed by Yong-Hwa Kim, and Barbie (2023) by Greta Gerwig, despite the nearly two decades between their release dates, employ similar strategies to appeal to their audiences. Each film portrays the protagonist's journey toward a new subjectivity characterized by self-acceptance and empowerment. Their transformation is also a journey toward social acceptance, as they succeed in becoming an ideal self that rejects their previously stigmatized identity. While both films offer some critique of the commodification of women and body image, they ultimately fail to present a genuinely empowering female character. Their portrayals of empowerment through physical transformation reflect postfeminist ideals that often equate women's empowerment with self-discipline and consumer choices. The paper argues that these narratives embody a postfeminist and neoliberal shift in 21st-century gender discourses.
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