Abstract
On the occasion of Barbie’s blockbuster summer, FQ columnist Caetlin Benson-Allott situates director Greta Gerwig’s latest success in relation to her previous two films, Little Women (2019) and Lady Bird (2017). All three films are female-centered coming-of-age stories, prompting Benson-Allott to read them as a trilogy. Doing so not only honors Gerwig’s achievement as an auteur, Benson-Allott suggests, but also generates important questions about what these films say about girlhood and middle-class white American women’s quest for autonomy and self-determination. Gerwig’s trilogy reveals an artist struggling to make sense of girl culture and the societal paradigms that impact it.
Publisher
University of California Press
Subject
Visual Arts and Performing Arts
Cited by
2 articles.
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