Amber Null
Professor Hatfield
495SH
4 May 2015
Wonder Woman: A Cinematic Fusion between Art and Television
Lawyer and phycologist William Moultan Marston, the creator of Wonder Woman in January 1942. She makes a debut in, “All Star Comics,” and “Sensation Comics” until she gets her own series that following July. “The Origin of Wonder Woman” released in the summer is comprised of four issues. Wonder Woman’s life and story, and as she changes the reader can see the key issues constraining her as a character. Her femininity enhances and deconstructs the notions of power she holds over her agency as she uses the tools of power that make up her costume to fight against the sexual assault of women. In this male dominated comic book world it is difficult to place Wonder Woman as a pure feminist, created by a male and from his perception. Commonly it is argued either way but by using a cinematic reference, it can be argued that Wonder Woman is situated in a limbo, designed for both sexes.
Wonder Woman is elevated by the ability to be in a comic industry that wants to capitalize on her unique characteristics. Wonder Woman: All Star Comics Issue 8 from 1941 is the very first release of the Wonder Woman comic, and for many of the younger girls, it was a moment of victory as there was this character who fell into the same category as Superman. “Wonder Woman symbolizes many of the values of the women’s culture that feminists are now trying to introduce into the mainstream; strength and self-reliance for women; sisterhood and mutual support among women; peace and fullness and esteem for human life; a diminishment both of ‘masculine’ aggression and the belief that violence is the only way of solving conflicts” (Steinem 205). It is strange to see that even with a male author, she was still able to act in commonly feminine ways, “male writers are not taking into account is that women do show their emotions, and do hug. American men are notoriously afraid of being considered homosexual” (Robbins 58). Wonder Woman’s original conception and release forced DC to realize that women wanted comics, and they wanted strong females, “Wonder Woman’s mother, Queen Hippolyte, offers yet another welcome example to young girls in search of a strong identity . . . found nations, wages war to protect Paradise Island, and sends her daughter off to fight the forces of evil in the world” (Stienem 205). The combination of producing work that would appeal to all generations and spark an interest for change in boys and girls is the aspiration of Moulstan. However, the producers expected for it to fall flat, and spark minimal interest amongst the readers it was being sold. These ideas of womanly values that the comic perpetuates is beneficial for young children who are influenced by these conversations their whole life, “If, as I have always suspected, children are simply short people-ancient spirits who happen to be locked up in bodies that aren’t big enough of skillful enough to cope with the world-then the superhuman feats in comic books and fairy tales become logical and necessary” (Stienem 203). Children grow up with the inherent understanding of signifiers surrounding them throughout literature, school, and home life. Without proper understanding of multiple interpretations it becomes difficult to understand objectively and place Wonder Woman in a world that can’t agree.
The tug and war against whether or not Wonder Woman is built for women’s rights and feminism or the pleasure center of man. It seems to be for both, without one there is no “other.” The, “image of a woman as (passive) raw material (active) gaze of man takes the argument a step further into the structure of representation” (Mulvey 66). The women watching Wonder Woman as she is constantly tied up and fighting against the ties are influenced by the want to change. The men watching with the active gaze, see her femininity as an object for desire. The two groups are achieving things that they want. Wonder Woman has characteristics from her “history” in this short series that acts as a form of castrating the male idea, but also to perpetuate the history of their femininity, “Most beautiful of all, Aphrodite, was the Greek Goddess of Love and Beauty, she inspired mortal lovers and protected them” (Moultan 98). She stems from a long line of mythology that perpetuates stigmas from the realm, these ideas don’t have to be created or discussed in depth because he uses commonly used information, “Everywhere, fear of goddesses, of women’s magical procreative powers, and of the old religions caused men to suppress the old social order very cruelly indeed” (Stienem 210). The need to control or, be controlled is seen by the reaction of reading Wonder Woman.
The most powerful humanistic message in Wonder Woman, and the one most constantly repeated, is that super powers are not necessary for a girl to become a superheroine; the Amazon princess herself does not really possess superior Amazon training, and with comparable training any woman or girl could become a wonder woman. (Robbins 56)
The way in which Wonder Woman is viewed, leans heavily on the art work. She is objectified by her small clothing, and large areas of skin. The concentration on stealing the magical girdle that is first attached to the Queen, is suggestive of the penetration of her powers, “She was beautiful, brave and explicitly out to change ‘a world torn by hatreds and wars of men’”(Stienem 204). Stienem emphasizes her desire to be the point in history that fulfills the needs of the fictional story, fixing their fabricated areas of unrest. Although, the battles Wonder Woman fights are not relevant to real life instances generally, they still play an important part in the DC Universe. The potentiality for future movies, and side comics. As a comic a big amount is the artwork, and we can see the blend of the male gaze take part in those areas.
Laura Mulvey’s theory on the male gaze puts into context the way that the early and later Wonder Woman’s are viewed physically. Her appearance and gadgets all define a part of what she represents to the men, and females. Even though the Amazonians are full of power and talents that are great in a battle. She still has to enter into a world of male ideas in order to have a happy existence. She was made discontent by Moulstan, and would follow this logic on:
Mulvey's essay also states that the female gaze is the same as the male gaze. This means that women look at themselves through the eyes of men. The male gaze may be seen by a feminist either as a manifestation of unequal power between gazer and gazed, or as a conscious or subconscious attempt to develop that inequality. From this perspective, a woman who welcomes an objectifying gaze may be simply conforming to norms established to benefit men, thereby reinforcing the power of the gaze to reduce a recipient to an object. Welcoming such objectification may be viewed as akin to exhibitionism. (Sturken 76)
There is the constant pulling of emotions towards Wonder Woman and whether or not she actively supports the female identity separate from the male or is hindered by her male audience and writer. Woman have to situate themselves in the context that allows there to be interpretation within literature, but cannot avoid the acknowledging the opposite sex. Wonder Woman is encumbered by those that create and surround her, and the projection of that is, she sells better if there is sexual insinuations. Laura Mulvey’s theory on the male gaze is best situated for television but these early novel has consistencies that coincide with the theory, “scopophilia, there are circumstances in which looking itself is a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at” (Mulvey 59). Wonder Woman is an object that can be looked at, unlike fictional works where it’s the imagination and here it focuses on the human form.
Wonder Woman in her summer issue is constrained by many peculiarities with her interactions between the pilot and those she battles at home in the Amazon or her travels on Earth. She is designed as a super-hero for girls, but she results in being made for both; boys and girls, “The superwoman inspires others, who in turn inspire her. And love, when motivated by a spiritual interdependency, can show us how an act of compassion can change lives,” (Stuller 233). There needs to be in place a passion and a belief system to notice these impacts upon women and men that adapt personal motivations and life experience. Her costume and reactions are effective in capturing male readers that would gaze upon her femininity as she changes her identity throughout her adventures. She uses alter egos to protect the man she loves, or her adventurous “elephant”(112) costume. Laura Mulvey’s theory adequately describes the phenomenon that is Wonder Woman’s existence, both men and woman collide in the universe and make and opportunity and possibility for change. The feminists revolt can look and try to help mold the future of Wonder Woman, the possibilities are endless. Although, the need to remember that when entering upon a future television series, there is no feminine identity without the help of males.
Work Cited
Sassatelli, Roberta. "Interview with Laura Mulvey: Gender, Gaze and Technology in Film Culture."Theory, Culture & Society, 28.5 (2011): 123-143.
Sturken, Marita and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford University Press, Inc., 2001. p. 76.
Steinem, Gloria. “Wonder Woman” The Super Hero Reader. Hatfield, Charles; Heer, and Worcester. Jackson: University Press of Mississippi. 2013. Print. 203
Stuller, Jennifer. “Love will Bring you to your Gift” The Super Hero Reader. Hatfield, Charles; Heer, and Worcester. Jackson: University Press of Mississippi. 2013. Print. 216
Robbins, Trina. “The Great Woman Superheroes” The Super Hero Reader. Hatfield, Charles; Heer, and Worcester. Jackson: University Press of Mississippi. 2013. Print. 53
Professor Hatfield
495SH
4 May 2015
Wonder Woman: A Cinematic Fusion between Art and Television
Lawyer and phycologist William Moultan Marston, the creator of Wonder Woman in January 1942. She makes a debut in, “All Star Comics,” and “Sensation Comics” until she gets her own series that following July. “The Origin of Wonder Woman” released in the summer is comprised of four issues. Wonder Woman’s life and story, and as she changes the reader can see the key issues constraining her as a character. Her femininity enhances and deconstructs the notions of power she holds over her agency as she uses the tools of power that make up her costume to fight against the sexual assault of women. In this male dominated comic book world it is difficult to place Wonder Woman as a pure feminist, created by a male and from his perception. Commonly it is argued either way but by using a cinematic reference, it can be argued that Wonder Woman is situated in a limbo, designed for both sexes.
Wonder Woman is elevated by the ability to be in a comic industry that wants to capitalize on her unique characteristics. Wonder Woman: All Star Comics Issue 8 from 1941 is the very first release of the Wonder Woman comic, and for many of the younger girls, it was a moment of victory as there was this character who fell into the same category as Superman. “Wonder Woman symbolizes many of the values of the women’s culture that feminists are now trying to introduce into the mainstream; strength and self-reliance for women; sisterhood and mutual support among women; peace and fullness and esteem for human life; a diminishment both of ‘masculine’ aggression and the belief that violence is the only way of solving conflicts” (Steinem 205). It is strange to see that even with a male author, she was still able to act in commonly feminine ways, “male writers are not taking into account is that women do show their emotions, and do hug. American men are notoriously afraid of being considered homosexual” (Robbins 58). Wonder Woman’s original conception and release forced DC to realize that women wanted comics, and they wanted strong females, “Wonder Woman’s mother, Queen Hippolyte, offers yet another welcome example to young girls in search of a strong identity . . . found nations, wages war to protect Paradise Island, and sends her daughter off to fight the forces of evil in the world” (Stienem 205). The combination of producing work that would appeal to all generations and spark an interest for change in boys and girls is the aspiration of Moulstan. However, the producers expected for it to fall flat, and spark minimal interest amongst the readers it was being sold. These ideas of womanly values that the comic perpetuates is beneficial for young children who are influenced by these conversations their whole life, “If, as I have always suspected, children are simply short people-ancient spirits who happen to be locked up in bodies that aren’t big enough of skillful enough to cope with the world-then the superhuman feats in comic books and fairy tales become logical and necessary” (Stienem 203). Children grow up with the inherent understanding of signifiers surrounding them throughout literature, school, and home life. Without proper understanding of multiple interpretations it becomes difficult to understand objectively and place Wonder Woman in a world that can’t agree.
The tug and war against whether or not Wonder Woman is built for women’s rights and feminism or the pleasure center of man. It seems to be for both, without one there is no “other.” The, “image of a woman as (passive) raw material (active) gaze of man takes the argument a step further into the structure of representation” (Mulvey 66). The women watching Wonder Woman as she is constantly tied up and fighting against the ties are influenced by the want to change. The men watching with the active gaze, see her femininity as an object for desire. The two groups are achieving things that they want. Wonder Woman has characteristics from her “history” in this short series that acts as a form of castrating the male idea, but also to perpetuate the history of their femininity, “Most beautiful of all, Aphrodite, was the Greek Goddess of Love and Beauty, she inspired mortal lovers and protected them” (Moultan 98). She stems from a long line of mythology that perpetuates stigmas from the realm, these ideas don’t have to be created or discussed in depth because he uses commonly used information, “Everywhere, fear of goddesses, of women’s magical procreative powers, and of the old religions caused men to suppress the old social order very cruelly indeed” (Stienem 210). The need to control or, be controlled is seen by the reaction of reading Wonder Woman.
The most powerful humanistic message in Wonder Woman, and the one most constantly repeated, is that super powers are not necessary for a girl to become a superheroine; the Amazon princess herself does not really possess superior Amazon training, and with comparable training any woman or girl could become a wonder woman. (Robbins 56)
The way in which Wonder Woman is viewed, leans heavily on the art work. She is objectified by her small clothing, and large areas of skin. The concentration on stealing the magical girdle that is first attached to the Queen, is suggestive of the penetration of her powers, “She was beautiful, brave and explicitly out to change ‘a world torn by hatreds and wars of men’”(Stienem 204). Stienem emphasizes her desire to be the point in history that fulfills the needs of the fictional story, fixing their fabricated areas of unrest. Although, the battles Wonder Woman fights are not relevant to real life instances generally, they still play an important part in the DC Universe. The potentiality for future movies, and side comics. As a comic a big amount is the artwork, and we can see the blend of the male gaze take part in those areas.
Laura Mulvey’s theory on the male gaze puts into context the way that the early and later Wonder Woman’s are viewed physically. Her appearance and gadgets all define a part of what she represents to the men, and females. Even though the Amazonians are full of power and talents that are great in a battle. She still has to enter into a world of male ideas in order to have a happy existence. She was made discontent by Moulstan, and would follow this logic on:
Mulvey's essay also states that the female gaze is the same as the male gaze. This means that women look at themselves through the eyes of men. The male gaze may be seen by a feminist either as a manifestation of unequal power between gazer and gazed, or as a conscious or subconscious attempt to develop that inequality. From this perspective, a woman who welcomes an objectifying gaze may be simply conforming to norms established to benefit men, thereby reinforcing the power of the gaze to reduce a recipient to an object. Welcoming such objectification may be viewed as akin to exhibitionism. (Sturken 76)
There is the constant pulling of emotions towards Wonder Woman and whether or not she actively supports the female identity separate from the male or is hindered by her male audience and writer. Woman have to situate themselves in the context that allows there to be interpretation within literature, but cannot avoid the acknowledging the opposite sex. Wonder Woman is encumbered by those that create and surround her, and the projection of that is, she sells better if there is sexual insinuations. Laura Mulvey’s theory on the male gaze is best situated for television but these early novel has consistencies that coincide with the theory, “scopophilia, there are circumstances in which looking itself is a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at” (Mulvey 59). Wonder Woman is an object that can be looked at, unlike fictional works where it’s the imagination and here it focuses on the human form.
Wonder Woman in her summer issue is constrained by many peculiarities with her interactions between the pilot and those she battles at home in the Amazon or her travels on Earth. She is designed as a super-hero for girls, but she results in being made for both; boys and girls, “The superwoman inspires others, who in turn inspire her. And love, when motivated by a spiritual interdependency, can show us how an act of compassion can change lives,” (Stuller 233). There needs to be in place a passion and a belief system to notice these impacts upon women and men that adapt personal motivations and life experience. Her costume and reactions are effective in capturing male readers that would gaze upon her femininity as she changes her identity throughout her adventures. She uses alter egos to protect the man she loves, or her adventurous “elephant”(112) costume. Laura Mulvey’s theory adequately describes the phenomenon that is Wonder Woman’s existence, both men and woman collide in the universe and make and opportunity and possibility for change. The feminists revolt can look and try to help mold the future of Wonder Woman, the possibilities are endless. Although, the need to remember that when entering upon a future television series, there is no feminine identity without the help of males.
Work Cited
Sassatelli, Roberta. "Interview with Laura Mulvey: Gender, Gaze and Technology in Film Culture."Theory, Culture & Society, 28.5 (2011): 123-143.
Sturken, Marita and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford University Press, Inc., 2001. p. 76.
Steinem, Gloria. “Wonder Woman” The Super Hero Reader. Hatfield, Charles; Heer, and Worcester. Jackson: University Press of Mississippi. 2013. Print. 203
Stuller, Jennifer. “Love will Bring you to your Gift” The Super Hero Reader. Hatfield, Charles; Heer, and Worcester. Jackson: University Press of Mississippi. 2013. Print. 216
Robbins, Trina. “The Great Woman Superheroes” The Super Hero Reader. Hatfield, Charles; Heer, and Worcester. Jackson: University Press of Mississippi. 2013. Print. 53