Of Humanities and Social Sciences

European Journal of Humanities and Social Sciences № 6 2020 PREMIER Vienna Publishing 2020 European Journal of Humanities and Social Sciences Scientifi c journal № 6 2020 ISSN 2414-2344 Editor-in-chief Maier Erika, Germany, Doctor of Philology Lewicka Jolanta, Poland, Doctor of Psychology International editorial board Massaro Alessandro, Italy, Doctor of Philosophy Marianna A. Balasanian, Georgia, Doctor of Philology Abdulkasimov Ali, Uzbekistan, Doctor of Geography Meymanov Bakyt Katt oevich, Kyrgyzstan, Doctor of Economics Adieva Aynura Abduzhalalovna, Kyrgyzstan, Doctor of Economics Serebryakova Yulia Vadimovna, Russia, Ph.D. of Cultural Science Arabaev Cholponkul Isaevich, Kyrgyzstan, Doctor of Law Shugurov Mark, Russia, Doctor of Philosophical Sciences Barlybaeva Saule Hatiyatovna, Kazakhstan, Doctor of History Suleymanova Rima, Russia, Doctor of History Busch Petra, Austria, Doctor of Economics Fazekas Alajos, Hungary, Doctor of Law Cherniavska Olena, Ukraine, Doctor of Economics Garagonich Vasily Vasilyevich, Ukraine, Doctor of History Proofreading Kristin Th eissen Jansarayeva Rima, Kazakhstan, Doctor of Law Cover design Andreas Vogel Karabalaeva Gulmira, Kyrgyzstan, Doctor of Education Additional design Stephan Friedman Kvinikadze Giorgi, Georgia, Doctor of Geographical Sciences Editorial offi ce Premier Publishing s.r.o. Praha 8 Kiseleva Anna Alexandrovna, Russia, Ph.D. of Political Sciences – Karlín, Lyčkovo nám. 508/7, PSČ 18600 Khoutyz Zaur, Russia, Doctor of Economics Kocherbaeva Aynura Anatolevna, Kyrgyzstan, Doctor of Economics E-mail: [email protected] Konstantinova Slavka, Bulgaria, Doctor of History Homepage: ppublishing.org European Journal of Humanities and Social Sciences is an international, German/English/Russian language, peer-reviewed journal. It is published bimonthly with circulation of 1000 copies. Th e decisive criterion for accepting a manuscript for publication is scientifi c quality. All research articles published in this journal have undergone a rigorous peer review. Based on initial screening by the editors, each paper is anonymized and reviewed by at least two anonymous referees. Recommending the articles for publishing, the reviewers confi rm that in their opinion the submitt ed article contains important or new scientifi c results. 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All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitt ed in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior writt en permission of the Publisher. Typeset in Berling by Ziegler Buchdruckerei, Linz, Austria. Printed by Premier Publishing s.r.o., Vienna, Austria on acid-free paper. CHANGES IN THE STATUS OF WOMEN IN THE HISTORY OF HEROIC MOVIES Section 1. Gender sciences https://doi.org/10.29013/EJHSS-20-6-3-7 Jinyu Liu, The Masters School E-mail: [email protected]; [email protected] Henry Byala, Dr. Supervisor, Yale University E-mail: [email protected] CHANGES IN THE STATUS OF WOMEN IN THE HISTORY OF HEROIC MOVIES Abstract. The status of men and women is never equal in hero movies. Unlike the male dominance in hero movies from the beginning, the status of women changes step by step. The status of women in the history of Heroic Movies has undergone several major changes. Black-Widow, Catwoman and Poison Ivy are the epitome of these changes. In any case, it is great to see that the status of women has improved step by step in the history of heroic movies and will eventually become the protagonist. Keywords: woman status, change, heroic movies. Although they are sometimes featured in both appear, the plot arrangement is also very unfriendly central and peripheral roles, female characters in to women; they are either portrayed as strange or comic books have not received equal treatment or downright bad. However, in the last decade, female attention as male characters. When people mention characters have begun to emerge as leading roles. the word “hero,” the figures that come to mind are When they are given this status, their way of gaining most often muscular males, saving the world from power is no longer limited to their reliance on men. evil. While they exist in principle, female heroines Instead, they gain authority through their own efforts are routinely excluded from immediate connection and persistence. While it has been overdue in trans- to the word “hero.” Perhaps a subconscious percep- piring, this transition is clearly visible in figures like tion exists that females cannot be classified as heros. Superwoman and Black Widow, both of whom defy In existing superhero films, female roles are mostly the traditional vision of female heroes, even if they restricted to supporting roles and villains. The pres- occasionally reinforce some of the standard tropes ence of female characters as a foil to male heroics associated with them. Far from being a minor issue seems to have become so common that most people in the history of narrative or film, this transition im- associate the word “delicate” with women. It seems to portantly suggests a broader cultural reorganization have become commonplace for women to gain pow- to the extent that representations (especially in pop- er by becoming accessories to men or by seducing ular media like comics and cinema) reveal existing men with their bodies. In films where female villains social beliefs. In the following article, I will analyze 3 Section 1. Gender sciences the three female characters, Hela, Wonder Woman, threat. In other words, in order to become villains, and Black Widow. Their characteristics are distinct, women must break out of the traditional conception but each demonstrates the increasing importance of of women as submissive. Their domination is evil, female characters in heroic movies. and their evilness is directly related to the extent to Critical work on super heroes has laid out some which they can dominate men sexually. of the essential concerns that confront any evalua- Austin also claims that stigmatizing of and dis- tion of the role that gender plays in comic books and crimination against women is also quite common in their cinematic embodiments. In “Batman’s Female comic books. For example, in “The Feline Morph”, Foes: The Gender War in Gotham City,” Shannon the author portrays Catwoman as a more feline than Austin examines the depiction of female villains. human. A second example Austin uses is “Deflow- Evaluating the interaction between the Joker and ered”, in which the female character uses her power Harley Quinn, Austin notes that male conception of to become more plantlike than human. She gradu- female power follows a standard trajectory. Within ally changes from heroine to monster under the au- the comic book world, men initially regard women as thor’s pen. This kind of carnivalesque female figure powerless. They believe they lack the ability to con- represents social expectations and stereotypes about trol. However, as the narrative progresses, men often women. The monstrous nature of the feminine vil- discover their mistake. As Austin observes, they are lain reveals that female power is essentially regarded actually susceptible to female authority. However, as a violation of the normal order. When she assumes at the point of realization, male characters (as she authority, she gives up her claims to being human. notes) routinely abandon their female counterparts. She is instead a beast. This rejection of female authority, along with plot But are all characteristics of women harmful and devices that regard female ascension as a product of frightening? Certainly not. Female characters some- sexual persuasion alone, reveals social attitudes to- times use femininity to get what they want. Poison ward dominant female figures. When they are not Ivy uses her poison kisses to manipulate men; Har- being ignored or avoided, female characters are in- ley Quinn and Catwomen also control men, exploit- stead seen as banding together to overpower male ing female roles that they are forced to endure. The authority. To underscore this point, Austin points gender issues inherent in comic books have led to to Batman: Harley Quinn, in which another woman, a growing awareness among women of how domi- Poison Ivy, helps Harley recover after her rejection nance can overwhelm women or take away their by Joker. Poison Ivy gives Harley power she didn’t rights. As female dominance becomes more asser- previously have. tive, the male gradually begins to have a sense of As Austin points out, sexual dominance is an- crisis that eventuates in the decline of the female other very common problem in comic books. Three and feminine. Poison Ivy starts out as a goddess originally excellent women demonstrate how sexual but eventually changes into creature of evil. Caputi power is often the root of female authority: Poison asserts that any unpacified, insubordinate goddess Ivy, Harley Quinn, and Catwoman. Throughout the transform into a beast, devil, or monster in religious books that contain them, these women control men and popular imagination. with a kind of front or mask. Their power is rou- Austin also claims that women, rather than be- tinely reduced to sexual seduction.

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