Abstract：
The Warner Brothers/Mattel movie Barbie is meant to be about feminism and capitalism in complicated, comical, and nuanced ways. It mostly succeeds in its dual purpose of comedy and inspiration. The doll\'s origin in 1959 places her and her consort, Ken, squarely in the context of the Cold War, although neither the movie nor the doll\'s long and successful marketing history acknowledges anything outside the sunny world of Barbie Land. The nuclear shadow does affect the movie\'s reception, however, in the form of international protests over the dashed lines scrawled on a supposed \"World Map\" in one scene. For nations in and around the South China Sea, the dashed lines evoke the specter of war in a nuclear age over claims to territorial sovereignty. Yet director Greta Gerwig\'s film is a runaway success, the first film solo directed by a woman to gross more than a billion dollars and counting.
摘要：
华纳兄弟/美泰的电影《芭比娃娃》是关于复杂的女权主义和资本主义的，滑稽的,和细微差别的方式。它主要实现了喜剧和灵感的双重目的。娃娃的起源是1959年，她和她的配偶，肯,在冷战的背景下，虽然电影和娃娃的长期和成功的营销历史承认芭比土地的阳光明媚的世界之外的任何东西。核阴影确实会影响电影的接收，然而,以国际抗议的形式，在一个场景中的虚线上草拟了一个所谓的“世界地图”。对于南中国海及其周围的国家来说，虚线唤起了核时代对领土主权主张的战争幽灵。然而，导演GretaGerwig的电影取得了巨大的成功，第一部由女性导演的电影独奏票房超过10亿美元，而且还在不断增加。
