Blog Post #7: Rethinking Media and Popular Culture Book | Free Choice

Chosen Reading: “Marketing American Girlhood” by Elizabeth Marshall

Overview: Elizabeth Marshall explored the true motivations and marketing strategies of American Girl Dolls (linked it here in case you wanted to take a peek at the website for your own reference).

This article caught my interest, as I have 11 of them in my own closet stored up for who knows what (I recognize this is a large number of expensive dolls). I was interested to see how my own childhood would possibly be reframed from Marshall’s insights. I was ready to be potentially disturbed and kept an open mind about what I was about to read. Spoiler: It is as disappointing as I thought it would be.

To recap Marshall’s American Girl history summary and for those unfamiliar with the dolls:

• American Girl LLC was founded by Pleasant Rowland - a Wisconsin teacher that wanted to show America’s past history for young girls. The company was sold in 1998 to Mattel Inc.

• First direct-mail catalog was published in 1986 and is currently top 10 selling catalog 

• Marketed products towards ages 7-12 (and now 8+)

• The stores are a full experience (you can take them to tea, the salon, etc.)

• The company sells dolls, books, and accessories. They also have films. 

Firstly, Marshall claims that “...any potential radical lessons imparted by the dolls and associated materials are short-circuited through the use of historical fiction to deliver traditional lessons about what girls can and should do” (page 132). Looking back, I can see this. I remember reading books about Kit, Julie, and Emily (Molly’s friend) and a lot of them never went anywhere substantial beyond being a good citizen or being a helping friend in need. While the stories highlighted adventure, the messaging lost its opportunity to go deeper into the historical context of the time. Marshall describes these limitations of the stories in the following way, “The historical fictions encourage a limited independent and emphasize conventional “good girl” behaviors” (page 132). 

One of the bigger criticisms (and arguably so!) is the superficial nature of exploring different cultures. Marshall discusses Kaya (Native American), Addy (African American), and Josefina (Mexican). Ultimately, Marshall discusses how their stories are filtered through white consciousness, which was a prior claim made by Beverly Slapin in 2007. Furthermore, the look historical context provided within the books (that come with the dolls) provide an overview of American history in a general sense instead of focusing on women and avoids getting into the weeds of racial and gender discrimination. Marshall explains that the marketability of showing diverse history for all girls and a display of girlhood is a facade above the underlying truth of a superficial corporation trying to draw money from their pockets. This was further illustrated when she asked children who played with the dolls what they liked most about them and they told her how much they loved the cool stuff and the catalog - consumerism in a nutshell! 

I would definitely have to agree with Marshall. Looking back, I can surely remember more about the outfits that I liked to dress them in than the plot of the books that came with them. I may remember and know the decade and time period they represent, but the consumerism runs stronger. So strong that when I wrote “11 dolls” earlier I cringed and felt a sense of shame. Obviously, I was a kid so there is a little less shame. However, it does not erase the fact that I am viewing this company through a different lens. While I always knew their prices were high and that they loved to make their money, I have a new perspective on how their marketing strategy truly works in the realm of performative activism. 

If you had these dolls as a child or are contemplating American Girl for your own children, I recommend the read! Even if the above do not apply to you, I still recommend.