Post-feminism 101 – From Teenage Girl to Young, Modern

Woman as Taught by Comic Books

The Boys’ Territory

Since their conception in the early 1930s, comic books have been little boys’ passing time.

Comics like Captain Marvel (1939- ), Superman (1939- ) and others taught them how to be

masculine and how to take matters into their own hands. But the question remains whether

girls had any chance to find their own role models and strong examples to follow.

Eighty years later the majority of graphic novels are still arguably targeted at men – younger and

older – with buff superheroes saving the damsels in distress in traditional comics (Batman

(1940- ), Superman (1939-)) and conflicted but kind average Joes winning the affection of

beautiful girls in longer graphic novels (for example Scott Pilgrim vs. The World (2004-2010) or

Shortcomings (2007)). Alternatives are many though; critically acclaimed pieces like Maus: A

Survivor’s Tale (1980-1991), V for Vendetta (1982-1989) or Watchmen (1986-1987) (Forbidden

Planet’s 50 Best of the Best Graphic Novels, 2010) all feature unique storylines and

extraordinary characters. It just happens to be that all mentioned graphic novels have male

protagonists.

When it comes to women-centred graphic novels we have to dig deep to find empowering

stories that are not auto-biographic retrospections (like Fun Home (2006) or Persepolis (2000))

or inspections of adolescent troubles (like Ghost World (1993-1997) or Skim (2008)).

This essay will question if the emergence of comics specifically marketed for teenage girls offers

a post-feminist option for its readers. Through the analysis of Slow News Day (2007) I hope to

uncover if these comics indeed provide empowerment and an alternative gender portrayal for

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young girls or are they just new additions to the long line of media products driven by

consumerist agenda.

The Bradshaw-Lifestyle – Arguments for and Against Post-Feminism

Post-feminism is usually defined as the belief that feminism has succeeded in its struggles and

there is no more need to fight for equality. Adriaens and Bauwel identify the main emphasis of

Sex and the City (1998-2004) as follows: ‘sexual freedom, female friendship, independence and

cosmopolitism’ (Adriaens and Bauwel, 2011: 1) and arguably these are the main points of post-

feminism as well.

While some view this as the achieved ultimate gender equality, a ‘discourse that gives women

the opportunity to be feminine, attractive and a feminist at the same time’ (Adriaens and

Bauwel, 2011: 6), others see it as a manufactured ideology tightly connected to media. As

Gauntlett quotes McRobbie: ‘young women want to prove that they can do without feminism as

a political movement, while enjoying the rewards of its success in culture and in everyday life.’

(Gauntlett, 2008: 217). Post-feminism is often associated with consumerism and self-

centredness and arguably holds the power of re-selling the ideas of traditional gender roles as

lifestyle choices modern women can make (Helford, 2005). Post-feminism also picked up

symbols and idols that are generally deemed sexist such as the pin-up girls and Wonder Woman,

and gave them new, questionably empowering meanings. While these symbols still reinforce

traditional beauty ideals, they also represent a less hegemonic, oppositional reading of popular

culture.

The world of comic books is generally regarded as a gendered medium, and female characters

are often described as sexist portrayals of femininity. As Inness mentions: ‘Since the majority of

comic book purchasers are boys and men, their tastes are catered to, resulting in many women

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characters who are still little more than overly endowed male fantasies’ (Inness, 1999: 142). The

next section will explore the evolvement of these female superheroes and what they meant in

the time of their first appearance in terms of feminism and sexism.

What Would Wonder Woman Do? – Superwomen in Comics

Female characters in comic books existed even before Wonder Woman first appeared in the

1940s; however, they generally took on traditional gender roles as housewives, damsels in

distress and vamps. They were all weaker, secondary counterparts to men protagonists in a

media format that was marketed for male readers only. In the 1920s and 1930s, “career girls”

(Inness, 1999: 143) were introduced in the genre, but still only working as teachers, nurses and

mainly reporters; all occupations usually associated with females.

Perhaps unsurprisingly, the most common jobs women uphold nowadays are still the same;

secretary, nurse, school teacher and cashier (Mandell, 2010). This seems to support Purvis’

theory that says: ‘most research into the occupational aspirations of school children have found

that a high degree of gender role stereotyping has had a major influence on their career choices’

(Purvis, 1987: 16). Thus popular culture’s gender portrayal can arguably have a major impact on

young readers and viewers.

Wonder Woman first appeared in 1941 and while still not breaking any gender stereotypes, as a

female superhero, her success among readers was ground-breaking (Inness, 1999: 144).

However, her character could not escape from the standards of beauty; she had big wavy hair,

long, slim legs and large breasts. It is debatable that Wonder Woman was sexualized purely for

marketability purposes and not sexism, since comic books were still mainly purchased by the

male population. As Brown quotes Roger Cadenhead: ‘After spirited efforts with protagonists

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like Wonder Woman and She-Hulk, companies resigned themselves to the fact that their largely

male audience largely wants to read about large males.’ (Brown, 2004: 61).

In the 1980s and 1990s a new genre of female centred graphic novels emerged: the Bad Girl

comics. These busty, usually blonde bombshells often dressed in leather (for example Barb Wire

(1994-1995)) arguably represent an intersection between comics and soft pornography. They

can be read as a positive development from the female superheroes that often ended up in

need of male help. However, the ‘physical extremes that typify the Bad Girl ... amount to an

almost hysterical mask of femininity.’ (Brown, 2004: 63). They are ‘images of threatening female

sexuality’ (Brown, 2004: 65). Arguably, this ‘dominatrix’ aspect of the Bad Girl is bringing in

adolescent and adult readers alike, proving that sex sells even in comic books.

Recent decades brought some variety into the genre of comic books in terms of gender

representation. The likes of Storm in X-men (1963- ) and Martha Washington in Give Me Liberty

(1990) were able to successfully embody both femininity and masculinity and therefore ‘refute

gender roles’ (Brown, 2004: 49). Even though they are still sexualized, they can offer the vision

of empowerment as leaders of their teams; women who are not defined by their emotions,

weaknesses or by men.

So while many of the female comic superheroes cannot be viewed as post-feminist characters,

their presentation as individual and independent fighters allows them to become post-feminist

symbols decades after their first appearance. Nevertheless, their biggest nemesis is still gender

stereotyping, as they fight their ways through a male-dominated fiction world in tight dresses.

Therefore positive gender representation was left to authors who stepped away from the

fictional world of superheroes and into the world of real gender struggles.

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Of the Women, by the Women, for the Women – Feminist Graphic Novels

The publication of Maus: A Survivor’s Tale between 1980 and 1991 opened up a new, mature

way of telling human stories through the medium of graphic novels. Due to a negative campaign

in the 1950s, comic books have been deemed ‘a form of subliterature’ (Inness, 1999: 140)

providing only inferior entertainment. However, some argue that they are ‘at the cutting edge of

exploring new definitions of gender because of their marginalization’ (Inness, 1999: 141).

Additionally, Kearney mentions that ‘a considerable amount of the next generation of feminist

media will likely emerge from the non-corporate arena’ (Kearney, 2011: 12).

Marjane Satrapi’s Persepolis (2000) introduces a strong female character in an environment

readers expect the least to find a heroine. The book, while exploring the political changes and

background of Iran, also captures a girl’s struggles for identity and recognition in a time when

being a female was nothing but a disadvantage. The young protagonist is rebellious, witty and

has to overcome problems imposed on her both by her environment and herself.

Alison Bechdel’s comics can provide further positive gender portrayals. Fun Home (2006) uses

Bechdel’s personal experience growing up in a household with her closeted homosexual dad and

her mom who was in the constant state of denial and raises questions about sexual orientation,

suicide and gender roles. Dykes to Watch Out For (1987-2008), on the other hand, introduces a

whole line of strong willed female characters, mostly gay, but all feminist, that are trying to

make sense of the changing times of the 1980s and 1990s when women’s and gay rights were

just starting to gain recognition.

Inness also mentions Tank Girl (1988-1995) as a positive, feminist example (Inness, 1999: 146);

however, the violent, sexual or political content of all mentioned graphic novels prevents them

from reaching a younger audience. Therefore they cannot offer the much needed alternative to

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girls. So while boys have access to masculine role models in comic books from an early age, girls

are excluded from the medium either by their age or by their gender.

Girly Comics on the Rise – The Minx Imprint

In 2006 DC Comics announced the creation of an imprint called Minx, targeted at teenage girls.

The novels in the Minx line were to have mainly female authors, strong female protagonists and

storylines that appeal and concern the young girl audience (Gustines, 2006). However, the

imprint failed to generate success and it was cancelled in 2008 (Beauman, 2008).

DC’s intentions arguably were to venture to the ‘new frontier’ (Gustines, 2006) that teenage

girls represented on the graphic novel market. The fact that comic book publishers are still

turning their main attention to the misogynistic world of masculine superheroes can be

problematic though. So instead of making their main line of comics accessible to female readers,

they debatably decided to ignore the problem and separate the girl market even further. Apart

from this, some of the Minx comics are either highly sexualized, like Water Baby (2008) or use

gender stereotypes to establish female protagonists, like the artsy girls in The P.L.A.I.N. Janes

(2007).

The graphic novel, Slow News Day, published in 2007, increases the suspicion further that the

teenage girl comic book market still only offers stereotypically gendered options for its readers.

Although it was not released under DC’s imprint, it was written by Andi Watson, who was part of

the original Minx team. The next section will analyse Slow News Day in detail to highlight the

gendered messages and connotations it might have.

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American Girl in the UK – Stereotypes and Gender Politics in Slow News Day

Slow News Day is about an American girl, Katharine, who travels to a small town in the UK to

help the local newspaper gain more readers. Later, it turns out that she is secretly writing a

sitcom script that she plans to pitch in the US and she is only involved with the newspaper to get

a rounder view on English culture. In the meantime, she befriends a local journalist, Owen, and

learns about the real values of community and integrity. Eventually, she moves back to the US,

but refuses to cheapen her sitcom with English stereotypes she learnt are not true and breaks

up with her ambitious but money-seeking boyfriend. Owen also breaks up with his long-time

girlfriend and as an ultimate romantic gesture, moves to the US to win Kat’s heart at the end of

the book.

The first thing that is notable about the characters is Katharine’s occupation. She is a writer

pretending to be a journalist; both jobs are stereotypically female jobs in popular culture. In this

context, the book arguably reinforces the idea that girls’ career options are a lot more restricted

and the post-feminist Carrie Bradshaw lifestyle is only achievable by thriving to become a writer.

There is only one other named female character in the book, Owen’s girlfriend, Nicole. She is the

head of advertising at the newspaper and she is portrayed as competitive and distant. The

character’s drive for success alienates her partner so the subtext here arguably is that being

highly ambitious might cost us dearly. At first, the protagonist of the story is also portrayed with

this idea in mind and her enthusiasm is often mocked. By the end her dreams are broken down

and her ambitions are corrected towards a more settled, simple life. This emphasizes the idea

that women should follow their dreams but only if it does not clash with their personal life and

their relationships with men.

Katharine is also very technology savvy which can be considered as a positive representation,

since in popular culture (especially in romantic comedies) modern women are often stereotyped

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with lesser knowledge about information technologies. However, Kat’s superiority regarding

laptops (compared to Owen’s old PC) is also an indicator and typical component of the post-

feminist Bradshaw lifestyle, in which the Apple MacBook is a must. In this aspect, Kat’s character

is promoting consumerism by suggesting that good writing and journalism comes with a good

laptop.

The graphic novel contains a relatively high amount of product placement for the medium.

There are nine easily recognizable brands visible throughout the book. While some of them are

probably only present to signify the country the scene is set in (like McDonalds for America),

some seem to suggest and promote the lifestyle the characters live (for example Cafe Costa or

Budweiser). This raises the question of what influence embedded advertisement can have on a

younger audience. While post-feminist TV shows like Sex and the City and Gilmore Girls are

known to include product placement, it is interesting to note the expansion of this practice into

comic books. The branded, consumerist world Slow News Day envisions arguably reinforces the

connection with post-feminism even further.

Conclusion

In summary, it is reasonable to note, that comics books still have a lot to do to establish gender

equality. Women’s representations in the genre are not balanced in terms of both quantity and

quality. While there have been attempts by the mainstream industry to include females in their

readerships, these attempts all failed to a varying degree. Post-feminism and its ideology

provide graphic novel publishers with a female portrayal that is easier to market than real,

rounded characters.

Young female readers face the choice between unrealistically sexualized, but strong role models

or feminine, but gender stereotypical career girls. While this choice in itself means development

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from the times when women were only secondary counterparts for men, further progress is

required to enable real empowerment. Because as long as femininity is so tightly bound by

gender roles, expectations and the consumerist choices we make, the empowerment can only

be envisioned and imagined. Until then, readers looking for positive representation can either

avoid the mainstream by following alternative comic publishers and authors or they can keep

producing oppositional readings of existing novels.

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