Effect of psychosocial stimulation on the enzymes involved in the biosynthesis and metabolism of noradrenaline and adrenaline. Henry JP, Stephens PM, Axelrod J, Mueller RA.The use of psychosocial stimuli to induce prolonged systolic hypertension in mice. Observations on the heart, kidney and aorta. The role of psychosocial factors in the development of arteriosclerosis in CBA mice. Henry JP, Ely DL, Stephens PM, Ratcliffe HL, Santisteban GA, Shapiro AP.Some significant obstetric trends in a metropolitan area. SOCIAL PATHOLOGY OF FOETAL AND INFANT LOSS. Population density and pathology: what are the relations for man? Science. Only Barbie – the busty, ambitious doll that caught flack for “setting back feminism” – can be used to burn it all down, and it’s a miracle that Gerwig gets away with it too. Barbie is her primitive tool to make fire Barbie is the bomb that Gerwig drops on patriarchy. There are jokes, nods and musical cues – elder millennial dog whistles – that make it clear that “Barbie” has been made by a white woman of a certain age, as Gerwig cracks open the casual, rampant misogyny that her generation weathered for the past 40 years. Gerwig has her own frame of reference, personal identity and artistic agenda, and this is her “Barbie,” a film that is expansive, fun and welcoming, but is a creation sprung from her own heart and mind. One could make the argument that “Barbie” is a kind of culmination of pop cultural and cinematic history, but it’s the culmination of a pop cultural and cinematic history of a specific auteur. Throughout her roller-coaster ride to the Real World and back, Barbie discovers that feminism is about seeing the humanity in everyone, even Ken, but most importantly, in herself, despite the arduous challenges of the Real World. It’s almost as if in his performance as Ken, we witness Gosling healing his inner child, the one who starred in the new Mickey Mouse Club, and whose cheesy tweenage dance performances go viral on social media every year.īut it’s Barbie’s awakening, a process of shock, sadness and acceptance, that is the spine of this story. She generously allows Gosling the bulk of the comic moments, as he leans into rubber-faced reaction shots and himbo charisma. In his later publications, Jack pushed back with ever greater vehemence against individuals and institutions pushing for increased population and. Robbie delivers a physical performance that apes the stiff limbs and cheery grin of the doll, but also builds in awareness and emotion over the course of the film. Only in a book, Tragedy in Mouse Utopia (Vallentyne 2006), published shortly before his death, did this reserved man unleash his inner censor and give us the full force of his thoughts. Like the musical movie stars of yore, our stars tackle these roles with their whole bodies. The film borrows from the sherbet-colored artifice of “The Umbrellas of Cherbourg,” the opulent sets of “The Red Shoes,” the costuming of “Grease,” and Gene Kelly’s dream ballets of “An American in Paris” and “Singin’ in the Rain.” While “Barbie” balances trenchant social observations and escapism, Gerwig draws on a century’s worth of movie references, and almost every Barbie doll and dwelling Mattel has ever made, including Midge (Emerald Fennell) and Alan (Michael Cera). In Los Angeles, they both discover patriarchy, a concept that Ken brings back to Barbieland in a tidal wave of horse-themed artwork, leather couches and Sylvester Stallone-inspired mink coats, fomenting rebellion amongst the Kens. On the advice of Kate McKinnon’s Weird Barbie (scribbled-on makeup, crazy haircut, always in the splits), Barbie sets out to find the girl who’s playing with her, to close the portal between Barbieland and the Real World. Our heroine is molded in the style of Neo of “The Matrix,” or Pee-Wee, from “Pee-Wee’s Big Adventure,” an innocent embarking on a journey outside of their cozy Baudrillardian simulacrum. In this pleasantly plasticky and womb-pink dreamscape, anyone can be Barbie, Barbie can do anything, and he’s just Ken.īarbie (Margot Robbie) has to leave the comfort of Barbieland in an attempt to stem the tide of irrepressible thoughts of death that start to creep through her cotton-candy consciousness, disastrously invading her disco dance parties. These concepts don’t exist in the Barbieland, a girly utopia and true Barbiarchy, where only Barbies sit on the Supreme Court, win Nobel Prizes and get to be president. Written by Gerwig and her husband, filmmaker Noah Baumbach, “Barbie” works in broad story strokes, which allows Gerwig to experiment with style and humor, creating the safe space for their pointed commentary on patriarchy, misogyny and perfectionism. In this existential exegesis on what it means to be a woman, and a human, Gerwig reflects our world back to us through the lens of Barbie, and in doing so, delivers a barbed statement wrapped in a visually sumptuous and sublimely silly cinematic confection. The director wields the iconic doll like a broadsword in “Barbie,” cleaving through culture with gleeful spirit and savage humor. In Greta Gerwig’s hands, Barbie is a weapon.
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