戏剧《玩偶之家》和电影《克莱默夫妇》作为当代作品，在女权主义的发展进程中起到了重要的作用。这篇文章旨在从女权主义的视角剖析与探索二者之间的关系。首先《克莱默夫妇》被普遍认为是《玩偶之家》的续写。诺拉和乔安娜在为女性自由斗争的一致性体现了《克莱默夫妇》支持了《玩偶之家》的女权主义观念。其次，与《玩偶之家》相比，《克莱默夫妇》也挖掘了更多的社会话题，例如女权运动所带来的儿童抚养权归属问题。涵盖更多的社会话题使得《克莱默夫妇》被视为《玩偶之家》的一种拓展。再者，诺拉获得了万千女性的崇拜，而《克莱默夫妇》中的乔安娜却遭受了来自评论家的厌恶。这种区别折射出即便两个作品都展现了女权主义思想，《克莱默夫妇》也暗示出女权主义在20世纪有着更加恶劣的环境。因此，这篇文章的论点是克莱默夫妇是对《玩偶之家》的继承与补充，但是它对观众的影响也阻碍了女权主义的发展。更多的研究可以着力于多部现代戏剧的比较和赏析。

A Doll's House and Kramer vs. Kramer are contemporary dramas which play important roles in the development process of feminism. This paper aims to compare them and explore their relationship from the perspective of feminism. Firstly, Kramer vs. Kramer is generally believed to be the continuation of A Doll’s House. Joanna and Nora are consistent in struggling for women’s liberation. This consistence demonstrates Kramer vs. Kramer supports for feminist ideas emerged in A Doll’s House. Secondly, compared with A Doll’s House, Kramer vs. Kramer also explores some social issues such as children custody brought by feminist movements. Containing more social issues demonstrates Kramer vs. Kramer is an expansion of A Doll’s House. Thirdly, when Nora wins the admiration of hundreds of women later, Joanna in Kramer vs. Kramer received public distaste from critics. This distinction reflects even though both dramas show feminist ideals, Kramer vs. Kramer connotes that feminism in twentieth century suffers from a more hostile environment. Therefore, this paper argues the film Kramer vs. Kramer acts as a support for and expansion of A Doll's House on feminism, but its influence on audience also hinders the development of feminism. Further studies can target on comparison works among more modern dramas about feminism.