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Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image. -
Friday, March 21St Saturday, March 22Nd
Friday, March 21st Hernandez’s Recent Narratives - Derek Royal 9-10:15 AM – Panel 1: The "Body" of 4-6 PM – Dinner the Text 6-7:30 – Phoebe Gloeckner Keynote → “Time is a Man / Space is a Woman”: Narrative + Visual Pleasure = Gender 7:30-9:30 – Reception Ustler Hall Confusion – Aaron Kashtan → Eggs, Birds and “an Hour for Lunch”: A Saturday, March 22nd Vision of the Grotesque Body in Clyde Fans: Book 1 by Seth - John Kennett 9-10:15 – Panel 5: The Figure on the → Love in the Binding – Laurie Taylor Page 10:30-11:45 – Panel 2: Groensteen's → "Gimme Gimme This, Gimme Gimme Networked Relations That": Confused Sexualities and Genres in Cooper and Myerson's Horror Hospital → Memory and Sexuality: An Arthrological Unplugged – James Newlin Study of Alison Bechdel’s Fun Home: A → How to Draw the (DC and) Marvel Way: Family Tragicomic - Adrielle Mitchell How Changes in Representation of Female → The Joy of Plex: Erotic Arthrology, Bodies and Attitudes are Changing Tromplographic Intercourse, and "Superheroine Chic" – Mollie Dezern “Interspecies Romances” in Howard → "The Muse or the Viper: Excessive Chaykin’s American Flagg - Daniel Yezbick Depictions of the Female in Les Bas-Bleus → Our Minds in the Gutters: Native and Cerebus" – Tof Eklund American Women, Sexuality, and George O’Connor’s Graphic Novel Journey into 10:30-11:45 – Panel 7: Let's Transgress Mohawk Country - Melissa Mellon → I for Integrity: Futurity, 11:45-1:15 – Lunch (Inter)Subjectivities, and Sidekicks in Alan 1:15-2:30 – Panel 3: Women on Top Moore's V for Vendetta and Frank -
The Wonder Women: Understanding Feminism in Cosplay Performance
THE WONDER WOMEN: UNDERSTANDING FEMINISM IN COSPLAY PERFORMANCE by AMBER ROSE GRISSOM B.A. Anthropology University of Central Florida, 2015 B.A. History University of Central Florida, 2015 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2019 © 2019 Amber Rose Grissom ii ABSTRACT Feminism conjures divisive and at times conflicting thoughts and feelings in the current political climate in the United States. For some, Wonder Woman is a feminist icon, for her devotion to truth, justice, and equality. In recent years, Wonder Woman has become successful in the film industry, and this is reflected by the growing community of cosplayers at comic book conventions. In this study, I examine gender performativity, gender identity, and feminism from the perspective of cosplayers of Wonder Woman. I collected ethnographic data using participant observation and semi-structured interviews with cosplayers at comic book conventions in Florida, Georgia, and Washington, about their experiences in their Wonder Woman costumes. I found that many cosplayers identified with Wonder Woman both in their own personalities and as a feminist icon, and many view Wonder Woman as a larger role model to all people, not just women and girls. The narratives in this study also show cosplay as a form of escapism. Finally, I found that Wonder Woman empowers cosplayers at the individual level but can be envisioned as a force at a wider social level. I conclude that Wonder Woman is an important and iconic figure for understanding the dynamics of culture in the United States. -
Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)" Jerry Spiller Art Institute of Charleston, [email protected]
Against the Grain Volume 27 | Issue 6 Article 43 2015 Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)" Jerry Spiller Art Institute of Charleston, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/atg Part of the Library and Information Science Commons Recommended Citation Spiller, Jerry (2015) "Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)"," Against the Grain: Vol. 27: Iss. 6, Article 43. DOI: https://doi.org/10.7771/2380-176X.7256 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Decoder Ring — Reprints and Refrigerators in “The American Comic Book (Critical Insights)” Column Editor: Jerry Spiller (Art Institute of Charleston) <[email protected]> often lament that printed academic and schol- “Comic Fandom Through the Ages” sums up The essayists also note the lack of credit arly works lag behind online sources in time- changes in readership and the relationship and “larger than life” appeal afforded to even Iliness. To a degree, this is a simple necessity. between readers, creators, and the tone and positively portrayed female characters, as any I was pleasantly surprised in this regard subject matter and tone. The changes in both heroism or actual plot contributions they make when reading through the Salem Press volume fandom and creators detailed by Munson and are are often simply forgotten or overshadowed The American Comic Book, part of their Critical Helvie work well together to set up Katherine by the acts of male figures. -
Postfeminism in Female Team Superhero Comic Books by Showing the Opposite of The
POSTFEMINISM IN FEMALE TEAM SUPERHERO COMIC BOOKS by Elliott Alexander Sawyer A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Science Department of Communication The University of Utah August 2014 Copyright © Elliott Alexander Sawyer 2014 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The following faculty members served as the supervisory committee chair and members for the thesis of________Elliott Alexander Sawyer__________. Dates at right indicate the members’ approval of the thesis. __________Robin E. Jensen_________________, Chair ____5/5/2014____ Date Approved _________Sarah Projansky__________________, Member ____5/5/2014____ Date Approved _________Marouf Hasian, Jr.________________, Member ____5/5/2014____ Date Approved The thesis has also been approved by_____Kent A. Ono_______________________ Chair of the Department/School/College of_____Communication _______ and by David B. Kieda, Dean of The Graduate School. ABSTRACT Comic books are beginning to be recognized for their impact on society because they inform, channel, and critique cultural norms. This thesis investigates how comic books interact and forward postfeminism. Specifically, this thesis explores the ways postfeminism interjects itself into female superhero team comic books. These comics, with their rosters of only women, provide unique perspectives on how women are represented in comic books. Additionally, the comics give insight into how women bond with one another in a popular culture text. The comics critiqued herein focus on transferring postfeminist ideals in a team format to readers, where the possibilities for representing powerful connections between women are lost. Postfeminist characteristics of consumption, sexual freedom, and sexual objectification are forwarded in the comic books, while also promoting aspects of racism. -
The Portrayal of Women in American Superhero Comics By: Esmé Smith Junior Research Project Seminar
Hidden Heroines: The Portrayal of Women in American Superhero Comics By: Esmé Smith Junior Research Project Seminar Introduction The first comic books came out in the 1930s. Superhero comics quickly became one of the most popular genres. Today, they remain incredibly popular and influential. I have been interested in superhero comics for several years now, but one thing I often noticed was that women generally had much smaller roles than men and were also usually not as powerful. Female characters got significantly less time in the story devoted to them than men, and most superhero teams only had one woman, if they had any at all. Because there were so few female characters it was harder for me to find a way to relate to these stories and characters. If I wanted to read a comic that centered around a female hero I had to spend a lot more time looking for it than if I wanted to read about a male hero. Another thing that I noticed was that when people talk about the history of superhero comics, and the most important and influential superheroes, they almost only talk about male heroes. Wonder Woman was the only exception to this. This made me curious about other influential women in comics and their stories. Whenever I read about the history of comics I got plenty of information on how the portrayal of superheroes changed over time, but it always focused on male heroes, so I was interested in learning how women were portrayed in comics and how that has changed. -
Why Wonder Woman Matters
Why Wonder Woman Matters When I was a kid, being a hero seemed like the easiest thing in the world to be- A Blue Beetle quote from the DC Comics publication The OMAC Project. Introduction The superhero is one of modern American culture’s most popular and pervasive myths. Though the primary medium, the comic book, is often derided as juvenile or material fit for illiterates the superhero narrative maintains a persistent presence in popular culture through films, television, posters and other mediums. There is a great power in the myth of the superhero. The question “Why does Wonder Woman matter?” could be answered simply. Wonder Woman matters because she is a member of this pantheon of modern American gods. Wonder Woman, along with her cohorts Batman and Superman represent societal ideals and provide colorful reminders of how powerful these ideals can be.1 This answer is compelling, but it ignores Wonder Woman’s often turbulent publication history. In contrast with titles starring Batman or Superman, Wonder Woman comic books have often sold poorly. Further, Wonder Woman does not have quite the presence that Batman and Superman both share in popular culture.2 Any other character under similar circumstances—poor sales, lack of direction and near constant revisions—would have been killed off or quietly faded into the background. Yet, Wonder Woman continues to persist as an important figure both within her comic universe and in our popular consciousness. “Why does Wonder Woman matter?” To answer this question an understanding of the superhero and their primary medium, the comic book, is required, Wonder Woman is a comic book character, and her existence in the popular consciousness largely depends on how she is presented within the conventions of the comic book superhero narrative. -
Bearing Witness to Female Trauma in Comics: An
BEARING WITNESS TO FEMALE TRAUMA IN COMICS: AN ANALYSIS OF WOMEN IN REFRIGERATORS By Lauren C. Watson, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Literature May 2018 Committee Members: Rebecca Bell-Metereau, Chair Rachel Romero Kathleen McClancy COPYRIGHT by Lauren C. Watson 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Lauren C. Watson, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. DEDICATION For my Great Aunt Vida, an artist and teacher, who was the star of her own story in an age when women were supporting characters. She was tough and kind, stingy and giving in equal measures. Vida Esta gave herself a middle name, because she could and always wanted one. Ms. Light was my first superheroine and she didn’t need super powers. ACKNOWLEDGMENTS Three years ago, I woke up in the middle of the night with an idea for research that was daunting. This thesis is the beginning of bringing that idea to life. So many people helped me along the way. -
Hawkman in the Bronze Age!
HAWKMAN IN THE BRONZE AGE! July 2017 No.97 ™ $8.95 Hawkman TM & © DC Comics. All Rights Reserved. BIRD PEOPLE ISSUE: Hawkworld! Hawk and Dove! Nightwing! Penguin! Blue Falcon! Condorman! featuring Dixon • Howell • Isabella • Kesel • Liefeld McDaniel • Starlin • Truman & more! 1 82658 00097 4 Volume 1, Number 97 July 2017 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow Comics’ Bronze Age and Beyond! DESIGNER Rich Fowlks COVER ARTIST George Pérez (Commissioned illustration from the collection of Aric Shapiro.) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Alter Ego Karl Kesel Jim Amash Rob Liefeld Mike Baron Tom Lyle Alan Brennert Andy Mangels Marc Buxton Scott McDaniel John Byrne Dan Mishkin BACK SEAT DRIVER: Editorial by Michael Eury ............................2 Oswald Cobblepot Graham Nolan Greg Crosby Dennis O’Neil FLASHBACK: Hawkman in the Bronze Age ...............................3 DC Comics John Ostrander Joel Davidson George Pérez From guest-shots to a Shadow War, the Winged Wonder’s ’70s and ’80s appearances Teresa R. Davidson Todd Reis Chuck Dixon Bob Rozakis ONE-HIT WONDERS: DC Comics Presents #37: Hawkgirl’s First Solo Flight .......21 Justin Francoeur Brenda Rubin A gander at the Superman/Hawkgirl team-up by Jim Starlin and Roy Thomas (DCinthe80s.com) Bart Sears José Luís García-López Aric Shapiro Hawkman TM & © DC Comics. Joe Giella Steve Skeates PRO2PRO ROUNDTABLE: Exploring Hawkworld ...........................23 Mike Gold Anthony Snyder The post-Crisis version of Hawkman, with Timothy Truman, Mike Gold, John Ostrander, and Grand Comics Jim Starlin Graham Nolan Database Bryan D. Stroud Alan Grant Roy Thomas Robert Greenberger Steven Thompson BRING ON THE BAD GUYS: The Penguin, Gotham’s Gentleman of Crime .......31 Mike Grell Titans Tower Numerous creators survey the history of the Man of a Thousand Umbrellas Greg Guler (titanstower.com) Jack C. -
Jack Kirby Influence Paper-2
Magi Hossameldin Professor Thelma Bauer Digital Media Foundations- D304 8:00 - 11:20AM Class December, 18th 2018 Jack Kirby-The Real Unknown Hero Often praised as the “King of Comics”, Jack Kirby has influenced generations of comic book artists and writers alike. Not only a talented comic book artist, he was also a great storyteller, which is considered to be responsible for his success and longevity. Kirby’s influence can still be seen in any modern superhero comics, and even on the big screen. Kirby is responsible for creating many iconic and beloved comic book characters. Jack Kirby was born as Jacob Kurtzberg on August 28, 1917, on the Lower East Side of Manhattan in New York City. From and early childhood, Kirby aspired to be a storyteller, having being influenced by the stories his mother told him, and the stories in the newspaper comics and in the movie theaters. As a self-taught artist, he started drawing cartoons for the newspaper of the Boys Brotherhood Republic. By the age of 14, he was enrolled in Pratt Institute, but dropped out the afternoon of his first day due to financial pressures. He worked at various studios before starting his career as a super-hero comic book artist. Kirby didn’t begin his career in comics but in the animated cartoons, namely Popeye cartoons at the Max Fleischer studios. He began working at Lincoln Newspaper Syndicate as a political, gag, and strip cartoonist. Through work, he met Joe Simon, and formed a team. In 1940, they were hired by Timely Comics Company, which is known in the present as Marvel Comics.