NEW: Comic Connections: Reflecting on Women in Popular Culture

Comic Connections: Reflecting on Women in Popular Culture

Sandra Eckard, editor

From Publisher Website:

With the popularity of comic adaptations on television and at the movies, these current topics can be a great way to engage students by bringing characters and stories they connect with into the classroom to help them build the skills that they need to be successful. Comic Connections: Reflecting on Women in Popular Culture is designed to help teachers from middle school through college find exciting new strategies that they can use right away as part of their curricular goals. Each chapter has three pieces: comic relevance, classroom connections, and concluding thoughts; this format allows a reader to pick-and-choose where to start. Some readers might want to delve into the history of a comic to better understand characters and their usefulness, while other readers might want to pick up an activity, presentation, or project that they can fold into that day’s lesson. This volume in Comic Connections series focuses on female characters—Wonder Woman, Peggy Carter, and Lois Lane, to name a few—with each chapter deconstructing a specific character to help students engage in meaningful conversations, writing projects, and other activities that will complement and enhance their literacy skills.

See my chapter:

Wonder Woman: Reading and Teaching Feminism with an Amazonian Princess in an Era of Jessica Jones, P. L. Thomas

[Sample excerpt from Classroom Connections section]

Women Superhero Costumes and Sexism in Student Dress Codes

“The original Wonder Woman comics included page after page of bondage imagery, scads of cross-dressing villains, and really remarkably unrepressed lesbian eroticism[i],” explains Noah Berlatsky, examining The New 52 reboot of Wonder Woman, adding: “The best Azzarello/Chiang can do, in contrast, is to have their Amazons pose like Playboy models while Eros makes sophomoric cracks about the quest for seminal mortal vessels.”[ii] The tension between the potential for a woman superhero to confront and change corrosive social norms such as sexism, misogyny, toxic masculinity, and objectifying/sexualizing women and the too-often reality of pop culture to reflect and reinforce those norms is throughout Wonder Woman, including how she is physically depicted as a superhero.

While comic books and graphic novels can be effective in classes as ways to reach beyond traditional texts, using Wonder Woman to lead into topics directly relevant to students is also recommended. Consider the controversial issue of dress codes for students as that is dramatized in depictions of Diana Prince and Wonder Woman.

In The New 52 rebooting of Wonder Woman, many have confronted the sexualizing of Wonder Woman in her costume and poses.[iii] These debates about objectification of females as well as slut shaming and body shaming can be introduced through Wonder Woman (Wonder Woman: Blood and the Meredith and David Finch runs before Rebirth), and then, students can research and debate the gender bias often found in school dress codes. Some resources for the latter include:

  • Shame: A Documentary on School Dress Code[iv]. This is a documentary by a 17-year-old student, available on YouTube. This could be a text in this unit or a model for documentaries created by students.
  • “Why School Dress Codes Are Sexist,” Li Zhou (The Atlantic).[v] This is a well-written work of journalism that covers the topic of sexism in dress codes well and serves as a strong model for public writing that uses hyperlinks as citation.
  • “Sexualization, Sex Discrimination, and Public School Dress Codes,” Meredith J. Harbach.[vi] Here, students can examine a scholarly approach to the issues of sexism and dress codes.
  • “The Unspoken Messages of Dress Codes: Uncovering Bias and Power,” Rosalind Wiseman (Anti-Defamation League).[vii] A curriculum resource and excellent overview, this can serve as a guideline for students lobbying for changes to dress codes and/or writing alternative codes that avoid bias.
  • “Baby Woman,” Emily Ratajkowski (Lenny).[viii] Ratajkowski is a contemporary celebrity, model and actress, who takes a strong public position as a feminist, despite her association with provocative and sexualized media (controversial music videos and TV commercials). Her personal narrative is a strong model of the genre, but it also complicates views of feminism and female sexuality as well as objectification.

Using the texts above, students can write persuasive essays, cited essays, and new dress codes; they can participate in formal or informal debates; and they can develop projects around identifying how popular media and culture objectify and shame women based on physical appearance and clothing. A unit on dress code linked to Wonder Woman is a provocative and rich unit that challenges students on many levels.

Finally, in this section on teaching through Wonder Woman, I am listing some additional resources for other units of study:

  • Robert Jones Jr., “Bumbling: DC Super Hero Girls and the White Racial Imagination,” The Middle Spaces.[ix]
  • Eliana Dockterman, “Wonder Woman Breaks Through,” Time.[x]
  • Christopher J. Hayton, “Evolving Sub-Texts in the Visual Exploitation of the Female Form: Good Girl and Bad Girl Comic Art Pre- and Post-Second Wave Feminism,” ImageTexT: Interdisciplinary Comics Studies 4 (2014), www.english.ufl.edu/imagetext/archives/v7_4/hayton/
  • Charlotte E. Howell, “‘Tricky’ Connotations: Wonder Woman as DC’s Brand Disruptor,” Cinema Journal.[xi]
  • Mitra C. Emad, “Reading Wonder Woman’s Body: Mythologies of Gender and Nation,” The Journal of Popular Culture.[xii]

Kelli E. Stanley, “‘Suffering Sappho!’: Wonder Woman and the (Re)Invention of the Feminine Ideal,” Helios.[xiii]

[i] Noah Berlatsky, “Comic Books Have Always Been Gay,” Slate, June 1, 2012, accessed February 10, 2017, http://www.slate.com/blogs/xx_factor/2012/06/01/gay_comic_books_have_been_around_since_the_birth_of_wonder_woman.html

[ii] Berlatsky, “Wonder Woman’s Violent, Man-Pandering Second Act.”

[iii] Ryan, “Wonder Woman Takes a Big Step Back” and Berlatsky, “Wonder Woman’s Violent, Man-Pandering Second Act.”

[iv] Maggie Sunseri, Shame: A Documentary on School Dress Codes, YouTube, may 29, 2015, accessed February 10, 2017, https://www.youtube.com/watch?v=XDgAZO_5U_U

[v] Li Zhou, “Why School Dress Codes Are Sexist,” The Atlantic, October 20, 2015, accessed February 10, 2017, https://www.theatlantic.com/education/archive/2015/10/school-dress-codes-are-problematic/410962/

[vi] Meredith Johnson Harbach, “Sexualization, Sex Discrimination, and Public School Dress Codes,” 50 U. Rich. L. Rev. 1039 (2016), access February 10, 2017, http://scholarship.richmond.edu/cgi/viewcontent.cgi?article=2275&context=law-faculty-publications

[vii] Rosalind Wiseman, “The Unspoken Messages of Dress Codes: Uncovering Bias and Power,” Anti-Defamation League, September 2014, accessed February 10, 2017, http://www.adl.org/education-outreach/curriculum-resources/c/the-unspoken-language-of-bias-and-power.html

[viii] Emily Ratajkowski, “Baby Woman,” Lenny, February 16, 2016, accessed February 2, 2017, http://www.lennyletter.com/life/a265/baby-woman-emily-ratajkowski/

[ix] Robert Jones Jr., “Bumbling: DC Super Hero Girls and the White Racial Imagination,” The Middle Spaces, May 10, 2016, accessed February 2, 2017, https://themiddlespaces.com/2016/05/10/bumbling-dc-super-hero-girls/

[x] Eliana Dockterman, “Wonder Woman Breaks Through,” Time, December 26, 2016–January 2, 2017.

[xi] Charlotte E. Howell, “‘Tricky’ Connotations: Wonder Woman as DC’s Brand Disruptor,” Cinema Journal 55.1 (2015, Fall), DOI: 10.1353/cj.2015.0072.

[xii] Mitra C. Emad, “Reading Wonder Woman’s Body: Mythologies of Gender and Nation,” The Journal of Popular Culture 39.6 (2006).

[xiii] Kelli E. Stanley, “‘Suffering Sappho!’: Wonder Woman and the (Re)Invention of the Feminine Ideal,” Helios 32.2 (2005).

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