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Gender stereotypes in cartoons
Misogyny in comics
Gender stereotypes in cartoons
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From the birth of Wonder Woman in 1941, to the introduction of Harley Quinn in 1992, women have appeared in many famous comics such as Marvel and D.C.. However, not all of these women are equal to the male characters. The portrayal of women in comic books is more derogatory than empowering, due to their costumes, position or powers, and absence of major movie roles.
Superheroines’ costumes are more derogatory than superheroes’ costumes. Many of these superheroines’ costumes evolved over time. As found in D.C. comics, the original Catwoman, a strong female character, wore a long cape and showed almost no skin. However, as she grew in popularity, and television exposed her to more male viewers, she was drawn in tighter and tighter catsuits,
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Spiderman, Superman, Batman, Captain America, and Iron Man are never drawn in a revealing or sexual manner. In fact, it’s quite the opposite; they are drawn more muscular, but they are always wearing full outfits covering all of their skin. Some people argue that both men and women are drawn in a way that accentuates their characteristics. Men become more muscular, and women gain bigger breasts. A writer for The Los Angeles Times wrote, “In Red Hood and the Outlaws No. 1, extraterrestrial princess Starfire strikes a Playboy-like pose, bursting out of her purple bikini as she propositions Red Hood. And Voodoo, a shape-shifting half-alien hybrid, spends half of her first issue stripping. Comics blogs buzzed with debate, and critics cried sexism, pointing to the company’s predominantly male creative staff” [McDonald]. While superheroes are drawn in a way that makes them more powerful, superheroines are drawn to please the thousands of male viewers, by being abnormally tall with giant breasts, tiny hips, a large bottom, and little clothing. They are even made less intelligent. Marina DelVecchio, a feminist writer, says, “Because she is half a woman, the acceptable and sexy parts of …show more content…
Even female characters who are not the heroes in these comic books are manipulated. They are also drawn in skimpier clothing, and made to appear unintelligent. By having only women being dressed inappropriately, or needing help, women are turned into nothing more than brainless, helpless objects.“‘Jean Kilbourne claims that by ‘turning a human being into a thing, an object, is almost always the first step toward justifying violence against that person.’ She contends that by using female sex to sell their products, advertising companies send the message that ‘all women, regardless of age, are really temptresses in disguise, nymphets, sexually unstable and seductive’” [DelVecchio]. By turning these comic book women in to sexual objects, comic book writers can
This thought has been held on for far too long. In a consumer-driven society, advertisements invade the minds of every person who owns any piece of technology that can connect to the internet. Killbourne observes that “sex in advertising is pornographic because it dehumanizes and objectifies people, especially women,” (271). Advertising takes the societal ideology of women and stereotypes most kids grow up learning and play on the nerves of everyone trying to evoke a reaction out of potential customers, one that results in them buying products.
Modern day superheroes still reflect the misogynistic and chauvinist society in which they were first created and this will be argued with reference to two of the films studied.
Women aren’t represented as incompetent, but rather as limited. In “The Woman Precedent Female (Super) Heroism on Trial”, Julie O’Reilly analyzes the distinctions between the ways male and female superheroes are “put to the test” in narratives. She also describes how male superheroes are the ones who are accepted into the world of fighting and protecting against evil; while the females have to go through much more than males in order to be recognized for their efforts. “What really is on trial, then, is a female superhero’s ability to be a fully recognized subject” (O’Reilly 452). The “heroine in her own right” should be acknowledged just like how male superheroes are recognized. Female superheroes deserve the right of being able to do just as much, and possibly even more, than a male superhero can and they should be given the appreciation as well as the acknowledgment that they rightfully deserve. For example, one book written by Stieg Larsson called “The Girl with the Dragon Tattoo” depicts the life of a very strong female protagonist. The literature illustrates two people who are trying to solve the mystery of the disappearance of a young girl in the 1940’s but the woman isn't getting much credit or motivation as the other characters.
Even though I found solace in the female video game characters of my childhood as these icons of Amazonian womanhood, with age I have come to realize that many of these female characters often rely on dated stereotypes. So much so, that many of these female characters become walking tropes, displaying only the most basic of female stereotypes: a love for shopping, makeup, and shoes. Anita Sarkesian, a feminist blogger who critiques anti-woman tropes in video games, created the name of this particular trope, the 'Ms. Male ' character. The 'Ms. Male ' character is defined as a female character with little-to-no personality or defining traits outside of traditionallly regressive “female” characteristics. This allows a game designer to take
In Superhero Worship by Virginia Postrel published in The Atlantic explores the glamour of comic heroes coming to live, and what that glamour really is. From paper to screen superheroes have caught the wonder of the American people. The most wellknown superheroes were introduced in the 1930s through the late 1950s, during the time of warfare and national pride. Superman was welcomed in America in 1937 to keep spirits alive during the breakout of WWII, fighting Nazis or the Japanese Imperial Army. These heroes that were created used propaganda
In the article The Problem with Female Superheroes, journalist Cindi May discusses the findings from a research conducted by Hillary Pennell and Elizabeth Behm-Morawitz. This study demonstrated the negative effects of the hypersexualisation of female characters on women. The effects included reinforcing traditional views on gender roles, increasing negative views of
middle of paper ... ... It is important to remember that these images speak to our culture, the viewers, and most importantly, each other. Ultimately, we can only hope that in any context of femininity on screen, we pay to see these women because they are truly lovely in every sense, “and to experience an inner radiance that may find its form in outward grace” (Entertainment Weekly 65).
There have been major changes to the superhero archetype in comics in these recent years as compared to the past. Along with that arises controversy on the subjects like the new female Thor or a black kid as Spiderman. Many are zealously against such changes for reasons like sexism or racism. While many others are fervently behind such changes because they use it to empower their own political views on today’s topics. These topics are important to today’s society however they should not be so important in comic books because comic books should be value-neutral and gender, ethnicity, sexuality and things of this nature should not matter.
Through all of this, she has had to pilot her invisible jet through territories that her male counterparts have never had to. She is constantly pulled in two directions; her stories must be entertaining and non-threatening to the male status quo, while simultaneously furthering her as the original symbol of Girl Power. She is praised for being an icon of strength to women everywhere, but chastised for wearing a skimpy costume and tying men up, as if she were no more than a male fantasy. No comic book character has had to endure as much scrutiny as Wonder Woman. That's because Wonder Woman represents an entire gender, at a time of important social flux.
Thus, we can assume that the audience itself, the members who believe in the content of ads and its sincerity, as well as, people who agree with the portrait of the women that is being created are the only prisoners in this particular situation. “To them, I said, the truth would be literally nothing but the shadows of the images” (Plato 868). On the other hand, according to the Jean Kilbourne, author of “Two Ways a Woman Can Get Hurt” what is not mention to the public is the fact, that many women from the very young age during the process of finding out the truth and being blinded by the “light” are fighting with depression, low self-esteem, eating disorders and sexual harassment. “I contend that all girls growing up in this culture are sexually abused – abused by the pornographic images of female sexuality that surround them from birth, abused by all the violence against woman and girls, and abused by the constant harassment and threat of violence” (Kilbourne
Merskin, D (2004) Reviving Lolita? : A Media Literacy Examination of Sexual Portrayals of Girls in Fashion Advertising. In American Behavioral Scientist, vol. 48: pp.119-129. London: Sage Publications.
In the world of comics, two main publishers dominate: DC Comics and Marvel Comics. DC Comics promotes superheroes such as Batman, a vigilante who began fighting crime solely to avenge the untimely death of his parents. He possesses no unique superhuman ability, other than a substantial fortune inherited from his late parents. Yet, the public in the Batman comics still adore their hero. In contrast, Marvel Comics promotes superheroes such as the X-Men, a team of superheroes who possess the X-Gene, a DNA mutation that gives each member a different ability.
In the capitalistic society, sexual objectification of women has become one of the most popular and effective ways of promoting a product. Female bodies are used in a lot of commercials. Not only do females reveal their body parts for the sake of ‘sex appeal’, they are often identified as a product itself, sometimes even regardless of the context.
After watching this, the group had more of a need to reinforce gender roles but it did not affect how they felt about their self esteem. Behm-Morawitz argues that the hypersexuality of superheroines is to reinforce the gender role beliefs rather than challenge them, this effect would surpass any benefit received from watching a strong, capable and intelligent female character. The problem arises when viewers (women) watch these superheroines in action; they admire the power and the status of these courageous women then desire to emulate them. These superheros have unrealistic body dimensions and outrageous activities, such as, Wonder Woman saving the world in nothing but a small one piece.
Women have been viewed as the weaker vessel compared to their stronger male counterparts since the beginning of time. From ancient mythology to popular modern media, women are easily portrayed as the damsel in distress, unable to take care of herself and constantly in the desperate need of being rescued. Women who stand up against this belief and make effort to support themselves were usually deemed fools, prostitutes, or worse, witches. While there have been mentions of strong-bred women in history such as Margaret of Anjou and Eleanor of Aquitaine, it has not become common theme until more modern times. The archetype of the damsel in distress is still a popular trend in media, but in society, women are now considered equal to men and no longer need to be rescued from circumstances.