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Thursday, 2 May 2013

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The Barbie Doll Definition

Source:- Google.com.pk

Barbie Doll

Original Barbie Doll In Barbie Doll History here have been numerous Types of Barbies made since she was first introduced in 1959. With a rare exception here and there, Barbie's body hasn't changed much. Some may have more moveable parts, but the size and shape remains the same. Her face however, is a different story.
Black BarbieThe first Black Barbie was introduced in 1980, she is called "Black Barbie" and was made with the Steffie face mold.
Many of the early collectible Barbie Dolls were created by well known designers. Some of the most popular where designed by Bob Mackie. One of Barbie's first transformations after so many years with the Superstar face was with the "Mackie Face", which was first used for Mackie's 1992 Neptune Fantasy Barbie and then was used more and more for Collectible Barbies. The 1998 Happy Holiday Barbie was the first Holiday Barbie to have the Mackie face.
Silkstone BarbieIn 2000, Mattel introduced the Fashion Model Collection, also known a Silkstones. They use the vintage Barbie face and have been very successful with Barbie collectors. For more detail on each doll from Silkstone Barbie Dolls.
Beginning in 2001, Mattel began to differentiate Barbies into different classifications using Label Colors. The current classifications are:
Pink Label (which had always been called "pink box" for obvious reasons) is used to designate play line or inexpensive dolls that available where ever Barbie Dolls are sold.
Silver Label is used for collectible dolls with no more than 50,000 produced worldwide.
Gold Label designates numbered editions of 25,000 worldwide or less, available at select retailers.
Platinum Label is an exclusive designation used when the dolls are sequentially numbered editions with less than 1,000 available worldwide. They are only available from certain Barbie dealers.
Black Label is a newer designation that indicates it is a doll designer for the adult collector.
Barbie has undergone many changes and a lot of diversity over the last ten years. Now a variety of different skin tones, hair colors and face sculpts are used. Mattel released a series of twelve Black Label Basic Barbie Dolls, the next step in Barbie Doll History, each featuring different types of Barbie face sculpt.
Here are the twelve 2009 Basic Barbie Dolls and their face sculpts. The dolls pictured below are all Barbies, the name underneath them is the name their face style is called.

Barbie's Queer Accessories
Forever Barbie: The Unauthorized Biography of a Real Doll
Erica Rand. Barbie's Queer Accessories. Durham, NC: Duke UP, 1995. M. J. Lord. Forever Barbie: The Unauthorized Biography of a Real Doll. New York: Avon Books, 1994.

M. J. Lord. Forever Barbie: The Unauthorized Biography of a Real Doll. New York: Avon Books, 1994.

It has long been a commonplace that children's play is preparation for adult life. This somewhat restrictive view of play is mirrored in traditional perspectives of Barbie play and its significance for child and adolescent culture. Many parents, teachers, and others interested in popular culture have narrowed their interpretation of Barbie into a bipolar opposition, asking themselves whether or not this toy helps children practice positive or negative gender roles. Both Erica Rand's Barbie's Queer Accessories and M. G. Lord's Forever Barbie: The Unauthorized Biography of a Real Doll challenge this perspective by arguing that no cultural artifact, including Barbie, is as simple as it may look.

Both Lord's and Rand's works are united by a focus on narrative and anecdote (personal and corporate or individual and cultural). Thus, it seems appropriate to begin with my own Barbie story. When I started reading Rand and Lord, I felt somehow inadequate or disqualified because I did not have a Barbie story of my own. I have no memories of either participating in Barbie play or rejecting it, even though I clearly remember farming in my sandbox with John Deere toys; playing and endlessly rearranging my child-size Avon carrying case filled with a complete line of cosmetics and toiletries; dressing and arranging my Mary Poppins doll who came with the appropriate accessories, such as a floor lamp that magically fit into a tiny carpetbag. Barbie appears nowhere in the cast of characters in my childhood narratives. However, during the reading, writing, and reviewing of Barbie's Queer Accessories and Forever Barbie, I did, quite unexpectedly, acquire a Barbie story. As fate would have it, I had just begun a relationship with a woman who had a teenage daughter who was extremely unhappy with and hostile towards me in particular and her mother's very recent lifestyle changes in general. One day, I was sitting in my friend's kitchen, drinking coffee and talking to her and her older daughter, while the younger daughter sat unhappily off to the side. In an effort to make conversation, my friend mentioned to her daughters that I was working on Barbie books. The older daughter and I began to talk about Barbie culture in general. Without warning, the younger daughter started to join in the conversation, made her first eye contact with me, told me about her Barbies in the attic, and how she used to love to play with them. From that day forward, she and I began to develop a positive relationship. I do not understand why, but it seems that Barbie provided a point of reference which the younger daughter could recognize, and, perhaps in her mind, my interest in Barbie identified me as a potential familiar instead of a threatening stranger. In short, Barbie gave us a much needed mutual narrative line to explore, which then led to a number of other shared areas of interest.