Women in Comics Post Golden Age An Application of Muted Group Theory Dr. Anita K. McDaniel University of North Carolina Wilmington [email protected] Muted Group Theory in Comics Women in comics don't have defined roles let alone “lead.” At best, they “help” and “look pretty.” Why? Because the superhero genre communicates in the language of men. Muted Group Theory (Kramarae, 2005, p. 55) Muted groups must change their language when communicating in the public domain, thus cannot fully share their true thougths. Their speech is disrespected by those in dominant groups; their knowledge is not considered sufficient for the public decision-making or policy making processes of that culture; their experiences are interpreted for them by others; And they are encouraged to see themselves as represented in the dominant culture. How muted groups find their voice (Griffin, Ledbetter & Sparks, 2015, p. 465) Assimilation—blending in with the dominant group Accommodation—persuading the dominant group to incorporate the experiences of the muted group Separation—minimizing contact with the dominant group Women in Comics Thesis • Often it has been stated that female superhero titles do not sell. It is not surprising when superheroines (created by men) become two dimensional stereotypes, plot devices for the stories of male superheroes, and industry jokes. • However, female editors, writers, and artists help superheroines reclaim their dignity and “super” status when they use accommodating communication strategies. She-Hulk and Jan Duursema Good comic art is creating a Despite her visual representation of superpowered who that character is and similarities to the not just generating a composite of masculine Hulk, She-Hulk or feminine features. became an industry Unfortunately, the joke as a hero due to industry standard for her trademark tear- good comic book art has away clothing and become drawing men to compliance with her look strong and brave and drawing women with exploitation. large breasts. Marvel Swimsuit Issue She-Hulk Steven Geiger/Paul Mounts version Commodified femininity When media agents signify femininity by visually emphasizing the line and curve of the female body along with a code of poses, gestures, body cants and gazes. So little of She-Hulk’s identity exists in the drawing beyond the green hair and skin, she could be anybody and, thus, becomes recognized as no one. Marvel Swimsuit Issue She-Hulk Jan Duursema/Tom Smith version Accommodation Duursema is known for creating strong women–physically strong and strong in character. Readers are reminded constantly that these women do something besides look pretty. Notice how almost half of the space on the page is devoted to the character’s legs. This visual technique creates a balance between She-Hulk’s feminine qualities and her superhero qualities. Women in Comics Conclusion I feel that the post Golden Age superhero genre has benefitted from the contributions of women in comic book production. Hopefully, the feminine voice in the comic industry has helped readers of the superhero genre appreciate the value of the female superhero. Further Readings • _____. Grand Comic Book Database [Online July 2006]. < http://comics.org/index.lasso>. • _____. Who’s Who in American Comic Books [Online July 2006]. <http://bailsprojects.com/S(zrcnn255vtenj45jdzf45))/WhosWho.aspx>. • Duursema, J., Duursema, J. & Smith, T. (1995). “She-Hulk.” MARVEL SWIMSUIT SPECIAL 1, 4. • Lee, S., Kraft, D. A., Buscema, J. & Vosburg, M. (2006). Savage She- Hulk #1-25. New York: Marvel Publishing, Inc. • Kramare, C. (2005). Muted group theory and communication: Asking dangerous questions. Women and Language, 28(2), 55-61. .