Stephanie Rosenbloom argues the message and logical reasoning for, “Why have so many girls grown up to trade in Wonder Woman costumes for little more than Wonderbras?”(165). She drives the readers to reflect upon their own experiences on the night of
In Charlotte E. Howell’s, “Tricky” Connotations: Wonder Woman as DC’s Brand Disruptor,” Howell argues the many points on how DC Comics failed to represent Wonder Woman in a superhero leading role for many years. The author discusses how DC failed to see that the comic book industry fan base consisted not only of males, but also, many female fans as well (141-142). In addition, she points out DC’s use of the word “tricky” in regards to marketing and film production for Wonder Woman; DC Comics couldn’t come up with a way to envision an on screen leading role for Wonder Woman or how to market one (142). As a result, Howell gives examples of how the fans weaponized the term “tricky” to show DC’s business failings (141-143). Furthermore, she points out how the many scripts were leaked and how the public scrutinized the writers on their attempts to represent an accurate Wonder Woman character (144-145). Similarly, she discusses how many female directors were afraid to even attempt to direct a Wonder Woman film (149). Altogether, Howell argues many valid points along with examples of the gender bias in popular culture. With her focus on DC Comics and their failed attempts to market and produce a film for a character, such as Wonder Woman, was a solid representation of the gender bias that has and continues to exist in popular culture.
In 1995, American journalist and political activist Gloria Steinem wrote the essay “Wonder Woman” and published it as the introduction to her book Wonder Woman: Featuring over Five Decades of Great Covers. Steinem wrote this essay to discuss the promotion of feminism in popular media, especially in comic books. She begins the essay with a tribute to William Moulton Marston’s superheroine Wonder Woman, recounting with a nostalgic tone the hundreds of languid afternoons hiding in a tree and restless nights swaddled in blankets during which her childhood self would eagerly pore over the pages of comic books she had bought herself. Then, she switches to a more earnest tone as she compares the adventures of Wonder Woman with the societal burdens
Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
Prevailing cultural norms have pictured men as the individual to be protectors, providers, make decisions, and to be in charge. Inheritance of masculine roles associated with strength, aggression, and dominance over women. Women are attendants and subordinates to men. Because Scout is raised by masculine figures, she is bound to develop certain qualities of a male figure. Scout is blamed for not being a proper girl but, her surroundings influence her to believe that she is doing wrong.
(434). The comic takes a humorous poke at gender roles and stereotyping in the workplace. Pathos was also presented with Rosie the Riveter. “Rosie the Riveter stands as a pointed rebuke to the ways Americans have traditionally been taught to think about “women’s work.”” (432).
Representation within media is a powerful thing and the viewpoint often differs with context, such as the gender of the storytellers and the time period in which a piece was written and/or published. William Moulton Marston, the mind behind iconic female superhero Wonder Woman (DC Comics), has once described a need for a new type of woman in comics. He found there was a need for one that defied the weaknesses we usually prescribe to females in general, stating that the female archetype lacks the force, strength, and power needed to make girls want to identify with female characters (American Scholar, 1943). Even then, his heroine could be described as modest and peace-loving, two characteristics he himself described as belonging to the aforementioned weaknesses.
Author Lois Wyse once wrote, “Men are taught to apologize for their weakness, women for their strength” (Anwer). These standards have been prevalent in society throughout history, creating the stereotype that the ideal man is always strong, brave, and self sufficient, and the ideal woman is small, submissive, and willing to tend the home. American short-story writer Washington Irving has portrayed these stereotypes in his works. As result of a mindset that was common for the time period Irving lived in, he has written short stories that portray unfair stereotypes involving the ideal man through physical appearance and an ingrained dislike against women as result of a struggle between the concepts of freedom and tyranny.
According to an Arizona Law Journal from 1994, “Feminism is the set of beliefs and ideas that belong to the broad social and political movement to achieve greater equality for women” (Fiss, 512). This quote is salient because feminism is a “broad social and political movement” meaning that striving for gender equality can be achieved in a plethora of ways. In the novel Sula, author Toni Morrison utilizes characters like Hannah and Sula Peace to create a feminist novel as both characters are the antithesis of conventional women who are oppressed and dependent upon men. This novel takes place in a town in Chicago referred to as The Bottom from 1919-1965 during a time of racism and sexism when women were seen as property. Sula refuses to accept
Is this a fair picture of how women are or should be? How does it differ from “normalized” views of women? Does it differ from other Disney interpretations of women? (1 – 1.5 pages minimum; value 20) Intertextuality Intertextuality is the way in which texts refer to other media texts that producers assume audiences will recognize.
Gender itself is a very complex concept to understand and portray onscreen, the concept of gender performativity was introduced by Judith butler in her book Gender Trouble: Gender Performance and Performativity. It is important to note that Butler
These depictions expose young girls to the stereotypical characteristics that women are expected to
As stated that “the substitution of a fetish object or turning the represented figure itself into a fetish so that it becomes reassuring rather than dangerous” (Mulvey 490), she relates to the fetishistic looking, in which women can be seen as curiously and admirationaly look on; or it is considered as a bust to look fetish/ desired. But Mulvey proved impotent how women can get out of this suffering. She wonders “how to fight the unconscious/ structured like a language, [...] while still caught within the language of patriarchy?” (Mulvey 484).