Barbie in Pakistan: The Toy, the Movie, and the Cultural Ambiguities

Barbie in Pakistan: The Toy, the Movie, and the Cultural Ambiguities

In Pakistan, Barbie the movie transcended its form as mere cinematic spectacle and metamorphosed into a tool through which the complex, unspoken, and ambiguous scales of morality can be analyzed. Farooqui's recent research on the reception of this globally successful movie examines the responses of its Pakistani viewers to show the complex national landscape of reactions that went far beyond simple movie criticism.

This post is part of a themed series on toys that asked contributors to think about a toy/toys/toy company and explore how various cultures, groups, audiences, or companies find and make meaning (or money) through such play.

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OSCAR WATCH 2024 — “Based on ‘Barbie’ by Mattel”: Adaptation, Franchising, and 'Barbie' (2023)

OSCAR WATCH 2024 — “Based on ‘Barbie’ by Mattel”: Adaptation, Franchising, and 'Barbie' (2023)

This piece is part of a series of critical responses to the films nominated for Best Picture at the 96th Academy Awards. Barbie is nominated in eight categories in the 2024 Oscars, including Best Picture and Best Adapted Screenplay. This critical response has been provoked by the discourse surrounding its eligibility in the Adapted Screenplay category, rather than Original Screenplay, and explores questions of adaptation and franchising in Barbie. The Barbie doll’s perceived lack of story or character suggests that Barbie is an original screenplay, but it is still based on a pre-existing intellectual property and an opening title card recognizes that Barbie is “Based on ‘Barbie’ by Mattel”. As an adaptation and a franchise Barbie draws from a material, industrial and historical story that works in concert with the polysemic, ambiguous and open nature of Barbie as a toy. Barbie is therefore shaped by the creative interpretation of Barbie as a culturally iconic toy and ‘Barbie’ as a franchise property owned by Mattel.

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