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Trina Robbins: the Flapper Queens: Women Cartoonists of the Jazz Age 2021

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Trina Robbins: the Flapper Queens: Women Cartoonists of the Jazz Age 2021 Repositorium für die Medienwissenschaft Barbara Margarethe Eggert Trina Robbins: The Flapper Queens: Women Cartoonists of the Jazz Age 2021 https://doi.org/10.25969/mediarep/16282 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Eggert, Barbara Margarethe: Trina Robbins: The Flapper Queens: Women Cartoonists of the Jazz Age. In: MEDIENwissenschaft: Rezensionen | Reviews, Jg. 38 (2021), Nr. 2, S. 174– 175. DOI: https://doi.org/10.25969/mediarep/16282. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 3.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 3.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/3.0/ http://creativecommons.org/licenses/by/3.0/ 174 MEDIEN wissenschaft 02/2021 Trina Robbins: The Flapper Queens: Women Cartoonists of the Jazz Age. Seattle: Fantagraphics 2020, 157 S., ISBN 9781683963233, USD 34,99 Seit gut einem halben Jahrhun- gilt auch für ! e Flapper Queens . Mit dert gehört Trina Robbins zu den Nell Brinkley (1886–1944), Eleanor prägenden Persönlichkeiten in der Schorer (1891–1976), Edith Stevens Comicsszene: In den 1970er Jahren (1899–1983), Ethel Hays (1892–1889), nahm sie wesentlich Einfl uss auf die Fay King (1889–?) und Virginia Huget Underground Comix Bewegung und (1899–1991) stellt Robbins sechs setzte sich erfolgreich dafür ein, dass Künstlerinnen vor, die sich in den diese auch eine feministische Ausrich- 1920er und 1930er Jahren besonderer tung erhielt. Ein wichtiges Instrument Popularität erfreuten. In der auch als hierfür war nicht zuletzt die von 1972 jazz age bezeichneten Periode, in der bis 1992 erscheinende Anthologie Frauen sich neue Freiheiten eroberten, Wimmen’s Comix , die ausschließlich unter anderem berufstätig waren, das von Comiczeichnerinnen produziert Wahlrecht erwarben und das Korsett wurde. In den 1980er Jahren debütierte ablegten (S.viii), kreierten diese sechs Robbins nicht nur als erste Zeichnerin flapper queens fashionable Identifi- des DC-Characters Wonder Woman, kationsangebote und Projektionsfl ä- sondern legte zudem – gemeinsam chen für ein weibliches Publikum und mit Catherine Yronwoode – ihre erste mokierten sich mit spitzer Zeichen- comichistorische Publikation vor, in feder über aktuelle Modephänomene. der sie sich mit der Geschichte von Das Schaff en von Nell Brinkely, „the Comiczeichnerinnen und Cartoonis- mother of comics strips that star pretty tinnen befasste ( Women and the Comics . girls created by women” (S.1), ist mit New York: Eclipse, 1983). Seither hat insgesamt 50 Seiten am breitesten prä- Robbins, die sich selbst als „retired sentiert. Brinkleys romantische, vom underground cartoonist and current Jugendstil inspirierte Darstellungsweise comics herstorian” (S.157) bezeichnet, wurde vielfach imitiert, nicht zuletzt mehr als ein Dutzend Monographien von Eleanor Schorer, wie ein Vergleich im Bereich Comicgeschichte vorge- mit deren Strip ! e Adventures of Judy legt. Verbindendes Element ist hierbei zeigt (S.52-57). 1925 schuf Brinkley die feministische Perspektive, sei es ihre erste Comicserie, ! e Adventures durch den Fokus auf Frauen als Pro- of Prudence Prim , die als ganzseitiger, duzentinnen und Rezipientinnen von farbiger Comic in den Sonntagsaus- Comics, oder durch die Konzentration gaben abgedruckt wurde. Es handelt auf Protagonistinnen grafi scher Narra- sich hierbei um – und dies triff t auch tionen selbst. Diese Herangehensweise auf Dimples’ Day Dreams und Sunny Buch, Presse und andere Druckmedien 175 Sue sowie Romances of Gloriette zu – ihr gezeichnetes alter ego Tagesereig- „sequential stories, broken up into nisse kommentieren, während Viginia borderless panels, with captions in the Huget in ihren Comics und Cartoons form of simple rhyming verses” (S.2). erstmals Frauen aus der Arbeiterklasse Letztere stammen bei ! e Adventures of die Hauptrolle gab, so zum Beispiel der Prudence Prim aus der Feder von Caro- Verkäuferin Babs oder der Maniküre lyn Wells, über die Leser_innen hier Molly. Das Buch endet, wie es begann: leider nichts weiter erfahren. Überra- mit Nell Brinkley, deren Blick auf das schend ist dies nicht, schließlich lautet Ende der Flapper-Ära das letzte Kapitel der Untertitel der Publikation Women abbildet. Jedem Kapitel ist eine kurze Cartoonists of the Jazz Age , doch ist es Einleitung vorangestellt, die sich auch trotzdem bedauerlich, dass hier die gut als Saal- oder Katalogtext eignen wortschöpfende Partnerin des erfolg- könnten. Hinweise zu weiterführen- reichen Gespanns ausgeblendet wird, der Literatur suchen die Leser_innen mit der Brinkley auch für die Comic- vergebens. Den Großteil des Buches serie ! e Fortunes of Flossie kooperierte. nimmt somit die von Robbins kura- Diese auf die Bildkunst fi xierte Heran- tierte Auswahl an Reproduktionen der gehensweise ist generell symptomatisch Comics und Cartoons ein. Etwaige in der Comicforschung – und sollte Auswahlkriterien jenseits des Entste- durchaus hinterfragt werden. hungszeitraums werden nicht genannt. Während sich Brinkleys roman- Gewiss haben darüber hinaus Detail- tische Heldinnen Tagträumereien und Abwechslungsreichtum eine Rolle hingeben, kommentiert und karikiert gespielt. Insbesondere die farbigen Edith Stevens in ihrem täglich in den Sonntagsseiten sind ein Fest fürs Auge. Boston Post erschienenem Comicstrip Us Umso bedauerlicher ist es, dass die girls die zeitgenössischen Mode- und Rezension anhand eines pdfs erfolgen Frisurentrends – mal mit, mal ohne musste, denn so lassen sich in Bezug Beigabe von Text, mal mehr, mal weni- auf die buchspezifi schen Qualitäten, ger bissig. Auch in Ethel Hayes zeich- die bei dieser Ausstellung zwischen nerischem Œuvre steht oft die Mode zwei Buchdeckeln sicher eine ganze im Zentrum – sei es in ihren ganzsei- besondere Rolle gespielt haben, keine tigen Beiträgen für die Wochenendbei- Aussagen treff en. lage, oder in ihren daily cartoons Ethel und Flapper Fanny Says . Fay King lässt in ihren selbstironischen Comicstrips Barbara Margarethe Eggert (Linz).
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