Gender and the Superhero Narrative
Michael Goodrum ยท Tara Prescott-Johnson ยท Philip Smith
แแฅแข. 2018 ยท Univ. Press of Mississippi
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Contributions by Dorian L. Alexander, Janine Coleman, Gabriel Gianola, Mel Gibson, Michael Goodrum, Tim Hanley, Vanessa Hemovich, Christina Knopf, Christopher McGunnigle, Samira Nadkarni, Ryan North, Lisa Perdigao, Tara Prescott-Johnson, Philip Smith, and Maite Ucaregui
The explosive popularity of San Diegoโs Comic-Con, Star Wars: The Force Awakens and Rogue One, and Netflixโs Jessica Jones and Luke Cage all signal the tidal change in superhero narratives and mainstreaming of what were once considered niche interests.
Yet just as these areas have become more openly inclusive to an audience beyond heterosexual white men, there has also been an intense backlash, most famously in 2015โs Gamergate controversy, when the tension between feminist bloggers, misogynistic gamers, and internet journalists came to a head. The place for gender in superhero narratives now represents a sort of battleground, with important changes in the industry at stake. These seismic shiftsโboth in the creation of superhero media and in their critical and reader receptionโneed reassessment not only of the role of women in comics, but also of how American society conceives of masculinity.
Gender and the Superhero Narrative launches ten essays that explore the point where social justice meets the Justice League. Ranging from comics such as Ms. Marvel, Batwoman: Elegy, and Bitch Planet to video games, Netflix, and cosplay, this volume builds a platform for important voices in comics research, engaging with controversy and community to provide deeper insight and thus inspire change.
The explosive popularity of San Diegoโs Comic-Con, Star Wars: The Force Awakens and Rogue One, and Netflixโs Jessica Jones and Luke Cage all signal the tidal change in superhero narratives and mainstreaming of what were once considered niche interests.
Yet just as these areas have become more openly inclusive to an audience beyond heterosexual white men, there has also been an intense backlash, most famously in 2015โs Gamergate controversy, when the tension between feminist bloggers, misogynistic gamers, and internet journalists came to a head. The place for gender in superhero narratives now represents a sort of battleground, with important changes in the industry at stake. These seismic shiftsโboth in the creation of superhero media and in their critical and reader receptionโneed reassessment not only of the role of women in comics, but also of how American society conceives of masculinity.
Gender and the Superhero Narrative launches ten essays that explore the point where social justice meets the Justice League. Ranging from comics such as Ms. Marvel, Batwoman: Elegy, and Bitch Planet to video games, Netflix, and cosplay, this volume builds a platform for important voices in comics research, engaging with controversy and community to provide deeper insight and thus inspire change.
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Michael Goodrum is senior lecturer in modern history at Canterbury Christ Church University and the coconvenor of the TORCH Oxford Comics Network. He is author of Superheroes and American Self Image: From War to Watergate and Printing Terror. He is coeditor of โFireflyโ Revisited: Essays on Joss Whedonโs Classic Series. Tara Prescott-Johnson is lecturer and faculty in residence at the University of California, Los Angeles. She is author of Poetic Salvage: Reading Mina Loy; editor of Neil Gaiman in the 21st Century: Essays on the Novels, Childrenโs Stories, Online Writings, Comics and Other Works; and coeditor of Feminism in the Worlds of Neil Gaiman: Essays on the Comics, Poetry and Prose. Philip Smith is professor of English at Savannah College of Art and Design. He is author of Reading Art Spiegelman and Shakespeare in Singapore. He is coeditor of โFireflyโ Revisited: Essays on Joss Whedonโs Classic Series and The Search for Understanding: Elie Wieselโs Literary Works.
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