{"product_id":"barbie-seis-miradas-criticas-libro","title":"Barbie: Seis miradas críticas sobre la película que agitó la conversación cultural","description":"\u003cp\u003e\n  \u003cem\u003e\u003cstrong\u003eMísticas. Brujas, diosas y ocultistas en los arquetipos del tarot\u003c\/strong\u003e\u003c\/em\u003e claims the participation\n  of women in the history of occultism through twenty-two portraits that dialogue with the arcana.\n  Artists, poets, mediums, goddesses, and warriors who experienced contact with the supernatural and whose lives\n  illuminate a tradition so often told without them.\n\u003c\/p\u003e\n\n\u003cblockquote\u003e\n  \u003cp\u003e\n    «In the summer of 2023, a tsunami of enormous proportions shook the global film industry. \n    The release of \u003cem\u003eBarbie\u003c\/em\u003e, by American filmmaker Greta Gerwig, preceded by a massive campaign \n    in marketing, it broke records: it was the most profitable film of the year and the first major box office hit directed by a woman. \n    Beyond the numbers, it became a mass phenomenon that sparked genuine rivers of ink. \n    It is clear that something happened with \u003cem\u003eBarbie\u003c\/em\u003e.»\n  \u003c\/p\u003e\n\u003c\/blockquote\u003e\n\n\u003cp\u003e\n  \u003cem\u003eWhether we like it or not, \u003cem\u003eBarbie\u003c\/em\u003e is already part of a defining sense of our time\u003c\/em\u003e: of the intellectual debate \n  its social impact; the cultural re-signification of the doll and the concept of \u003cem\u003eblockbuster\u003c\/em\u003e, to the role \n  feminism in pop narratives and the film industry; and the capacity of capitalism to reinvent itself \n  and capitalized on any idea. \u003cstrong\u003eNot having seen \u003cem\u003eBarbie\u003c\/em\u003e —and not having an opinion— meant being left out of the game.\u003c\/strong\u003e \n  In a society shaped by polarization, the film generated opposing stances and even reached \n  the cultural geopolitics, while Mattel and Warner Bros. took note: a budget of 145 million dollars \n  and, in just four months, more than 1.3 billion in revenue.\n\u003c\/p\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eThis volume\u003c\/strong\u003e brings together \u003cstrong\u003esix critical articles\u003c\/strong\u003e on the film and its cultural readings, \n  with a clear intention: \u003cstrong\u003eto ground a phenomenon\u003c\/strong\u003e that goes far beyond the doll that inspires it.\n\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat you will find\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n  \u003cli\u003eSix critical and complementary perspectives.\u003c\/li\u003e\n  \u003cli\u003eContext on marketing, box office, and reception.\u003c\/li\u003e\n  \u003cli\u003eDebates on pop feminism, \u003cem\u003eblockbuster\u003c\/em\u003e, and mass culture.\u003c\/li\u003e\n  \u003cli\u003eThe re-signification of \u003cem\u003eBarbie\u003c\/em\u003e in 2023 and its social impact.\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eAbout the authors\u003c\/h3\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eEduardo Guillot\u003c\/strong\u003e has been a cultural journalist since the late eighties. Member of the programming team \n  of the Filmoteca de Valencia (2000–2005) and author of about twenty books on music, cinema, and popular culture. \n  He has worked as a programmer at various international festivals and between 2018 and 2024 was Artistic Director \n  the Mostra de València – Cinema del Mediterrani.\n\u003c\/p\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eEulàlia Iglesias\u003c\/strong\u003e is a journalist specializing in film and audiovisuals. She collaborates with \n  \u003cem\u003eCaimán Cuadernos de Cine\u003c\/em\u003e, \u003cem\u003eFotogramas\u003c\/em\u003e, \u003cem\u003eAra\u003c\/em\u003e, \u003cem\u003eFilmtopia\u003c\/em\u003e y \u003cem\u003eRockdelux\u003c\/em\u003e. \n  Professor of Film and Television Theory and Analysis at Universitat Rovira i Virgili, she is part of the committee \n  of the selection committee of the Seminci (Valladolid International Film Week) and the D’A Festival Cinema Barcelona.\n\u003c\/p\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eJara Yáñez\u003c\/strong\u003e is the director of the magazine \u003cem\u003eCaimán Cuadernos de Cine\u003c\/em\u003e. Professor in the Master's program in Film Criticism \n  and a regular collaborator on the program \"Historia de nuestro cine\" (TVE). She holds a degree in Art History from the University \n  Autonomous University of Madrid and holds a PhD in Film History, she has published works on production, exhibition, and authors such as Isabel Coixet, \n  Pilar Miró or Elías León Siminiani.\n\u003c\/p\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eAarón Rodríguez Serrano\u003c\/strong\u003e is a Professor of Audiovisual Communication at Universitat Jaume I. Author of more than a dozen books, \n  including \u003cem\u003eEspejos en Auschwitz: Apuntes sobre cine y Holocausto\u003c\/em\u003e (Shangrila, 2015), \u003cem\u003eNanni Moretti\u003c\/em\u003e (Cátedra, 2018) \n  and \u003cem\u003eVolver al cine: Pensar, escribir y analizar las películas\u003c\/em\u003e (Solaris, 2024). He collaborates as a critic and produces video essays \n  on the relationships between cinema and philosophy.\n\u003c\/p\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eJesús Palacios\u003c\/strong\u003e is a journalist and writer, born in San Lorenzo de El Escorial. With more than two decades of experience, \n  she has worked in press, radio, and television, collaborating with media such as \u003cem\u003eTiempo\u003c\/em\u003e, \u003cem\u003eTribuna\u003c\/em\u003e, \u003cem\u003eInterviú\u003c\/em\u003e, \n  \u003cem\u003eEl Mundo\u003c\/em\u003e, \u003cem\u003eEl Periódico de Catalunya\u003c\/em\u003e, or \u003cem\u003eEl Independiente\u003c\/em\u003e. Author of several books, including \n  \u003cem\u003eLos papeles secretos de Franco\u003c\/em\u003e, with notable critical and commercial success.\n\u003c\/p\u003e\n\n\u003cp\u003e\n  \u003cstrong\u003eMaría Ruido\u003c\/strong\u003e is a visual artist, filmmaker, researcher, and educator. Professor in the Department of Image \n  of the University of Barcelona. Among her productions, the documentary essays \u003cem\u003eLa memoria interior\u003c\/em\u003e (2002) stand out, \n  \u003cem\u003eTiempo real\u003c\/em\u003e (2003), \u003cem\u003eFicciones anfibias\u003c\/em\u003e (2005), \u003cem\u003eL’oeil impératif\u003c\/em\u003e (2015), \n  \u003cem\u003eMater Amatísima\u003c\/em\u003e (2017), \u003cem\u003eEstado de malestar\u003c\/em\u003e (2019), and the conference-performance \u003cem\u003eLas reglas del juego\u003c\/em\u003e (2022). \n  She has participated in numerous exhibition projects in Spain and internationally, and her works are part of permanent collections \n  from MNCARS, MACBA, CA2M, CGAC, and the OVNI Archive.\n\u003c\/p\u003e\n","brand":"Barlin Libros","offers":[{"title":"Default Title","offer_id":55986343706968,"sku":"LIB-BA-BA-302","price":19.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/8464\/0856\/files\/barbie-seis-miradas-criticas-sobre-la-pelicula-que-agito-la-conversacion-cultural-9482731.jpg?v=1767396955","url":"https:\/\/uk.plasticbooks.com\/en\/products\/barbie-seis-miradas-criticas-libro","provider":"Plastic Books","version":"1.0","type":"link"}