Barbie has been accused of a lot over the last 7 decades, but her most enduring criticism is that she sets unrealistic beauty standards for young girls. Ben talks Rich through the curious history of Barbie as a toy and a “role model”, the sometimes-warped world of body image research, and a creepy life-size doll that walks on all fours.
Show Notes:Anschutz, Doeschka J., and Rutger CME Engels (2010). "The effects of playing with thin dolls on body image and food intake in young girls." Sex Roles 63, 621-630.
[Video] CNN: Woman Makes Life-Size Barbie Look-Alike
Blood, S. K. (2004). Body Work: The Social Construction of Women's Body Image, Routledge.
Brownell, Kelly D., and Melissa A. Napolitano (1995). "Distorting reality for children: Body size proportions of Barbie and Ken dolls." International Journal of Eating Disorders 18.3, 295-298.
Dittmar, Helga, Emma Halliwell, and Suzanne Ive (2006). "Does Barbie make girls want to be thin? The effect of experimental exposure to images of dolls on the body image of 5-to 8-year-old girls." Developmental Psychology 42.2, 283.
Dockterman, Eliana (2016) ‘Barbie’s Got a New Body’, Time
Driscoll, Catherine. (2002). Girls: Feminine Adolescence in Popular Culture and Cultural Theory. Columbia University Press.
‘Get Real Barbie Fact Sheet’
Henfield, M. (1990) ‘The Anorexics Aged Eight’, Daily Mail.
[Video] Mattel Barbie Commercial (1959)
Pearson, Marlys, and Paul R. Mullins (1999). "Domesticating Barbie: An archaeology of Barbie material culture and domestic ideology." International Journal of Historical Archaeology 3, 225-259.
Rand, Erica. (1995). Barbie's Queer Accessories. Duke University Press.
Note: Journal articles are often behind paywalls. If you don't have institutional access but would like a copy of these papers please email Illeffectspod@gmail.com and we will happily send you a copy
Credits:Hosts – Rich McCulloch and Ben Litherland
Music by - Brutalust (Colin Frank and Maria Sappho), recorded and mixed by Joe Christman
Creative producer – Rachel Wood
Technical producer – Caroline Pringle
Technical production – Colin Frank
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