Relevant bibliographies by topics / Women in comic books

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Women in comic books'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women in comic books"

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Lavin, Michael R. "Women in comic books." Serials Review 24, no. 2 (June 1998): 93–100. http://dx.doi.org/10.1080/00987913.1998.10764448.

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Hunt, Whitney. "Negotiating new racism: ‘It’s not racist or sexist. It’s just the way it is’." Media, Culture & Society 41, no. 1 (October 4, 2018): 86–103. http://dx.doi.org/10.1177/0163443718798907.

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Comic books are being adapted into film and television series, encouraging underrepresented voices to become more prominent in comic book culture. White men continue to dominate the culture as creators and principle characters. Yet, women and people of color are consuming comic books and films at increasing rates prompting fans to use social media outlets and online forums to engage in conversations about race in pop culture. Employing a qualitative content analysis of an online forum tailored to comic book culture, this research investigates how fans negotiate their continued fandom of comics amid claims that the industry is discriminatory toward people of color. Findings reveal forum discussion is adopting framings of new racism when accounting for a lack of diversity in comic book films. Specifically, this research shows how fans rely on White racial framings throughout discussion. Central themes indicate most forum participants suggest only overt discrimination implies that race matters and minimize the effects of historical processes. Moreover, few fans challenge traditional representations normalizing White dominance. This study contributes to research on new racism and the prevalence of White racial framings in contemporary American society.
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Żaglewski, Tomasz. "Supermoc dziewczęcej przyjaźni. Wokół wybranych komiksowych wizerunków girl power." Literatura i Kultura Popularna 25 (July 28, 2020): 407–28. http://dx.doi.org/10.19195/0867-7441.25.23.

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The main aim of the article is to confront the idea of “girl power” — as a popular culture variation of a feministic agenda — with selected comic book superheroines. For the general audi-ence mainstream superhero comics serve strictly as a graphic variation of a “male gaze” through over-sexualised depictions of super-women’s bodies and poses. However by analysing some cru-cial examples in the history of super-women-orientated titles, like “Wonder Woman”, “Superman’s Girlfriend Lois Lane” or “She-Hulk”, the author is trying to reconstruct the process of a slow ‘em-powering’ of women characters by making them more self-aware and consolidated within female groups. By reaching for the teenage-dedicated “DC Super Hero Girls” series the article is heading towards the conclusion about an overall modern re-shaping process of comic book superheroines according to the “girl power” directives and new tastes of an expanding female audience. “DC Super Hero Girls” can serve as a great example of a modern trend in superhero comics to change a “stan-dard” perception of super-women into a much more “female gaze-aware” phenomenon.
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Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.

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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.
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Kelp-Stebbins, Katherine. "Global Comics." Feminist Media Histories 4, no. 3 (2018): 135–56. http://dx.doi.org/10.1525/fmh.2018.4.3.135.

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This article examines the critical reception of works by comic artists Zeina Abirached and Marjane Satrapi, and specifically articulations of likeness and contrast between them. Surveying the frequent comparisons of Abirached's A Game for Swallows (2007, 2012) to Satrapi's Persepolis (2000–2004) provides a methodological framework by which to reconsider the cultural and capital economies of world literature and global comics. This analysis is guided by questions regarding global comics as an emergent textual form that complicates world literature as a system of cultural recognition. What role does the emphasis on these two women authors as Middle Easterners play in the reception of their books in Europe and the United States? How do transnational literatures capitulate to (neo)imperial projects? How do comics, by introducing new criteria for literary assessment, compel us to radically remap the location of culture?
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Thelwall, Mike. "Reader and author gender and genre in Goodreads." Journal of Librarianship and Information Science 51, no. 2 (May 24, 2017): 403–30. http://dx.doi.org/10.1177/0961000617709061.

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There are known gender differences in book preferences in terms of both genre and author gender but their extent and causes are not well understood. It is unclear whether reader preferences for author genders occur within any or all genres and whether readers evaluate books differently based on author genders within specific genres. This article exploits a major source of informal book reviews, the Goodreads.com website, to assess the influence of reader and author genders on book evaluations within genres. It uses a quantitative analysis of 201,560 books and their reviews, focusing on the top 50 user-specified genres. The results show strong gender differences in the ratings given by reviewers to books within genres, such as female reviewers rating contemporary romance more highly, with males preferring short stories. For most common book genres, reviewers give higher ratings to books authored by their own gender, confirming that gender bias is not confined to the literary elite. The main exception is the comic book, for which male reviewers prefer female authors, despite their scarcity. A word frequency analysis suggested that authors wrote, and reviewers valued, gendered aspects of books within a genre. For example, relationships and romance were disproportionately mentioned by women in mystery and fantasy novels. These results show that, perhaps for the first time, it is possible to get large-scale evidence about the reception of books by typical readers, if they post reviews online.
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Dunne, Maryjane. "The Representation of Women in Comic Books, Post WWII Through the Radical 60’s." McNair Scholars Online Journal 2, no. 1 (2006): 81–91. http://dx.doi.org/10.15760/mcnair.2006.81.

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Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.
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Sanders, Nichole. "Women, Sex, and the 1950s Acción Católica’s Campaña Nacional de Moralización del Ambiente." Mexican Studies/Estudios Mexicanos 36, no. 1-2 (2020): 270–97. http://dx.doi.org/10.1525/msem.2020.36.1-2.270.

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This article examines how some Catholic women, through their participation in an Acción Católica campaign, protested what they believed was the immoral nature of an expanding consumer culture: the movies, magazines, fashions, and comic books that inundated Mexico—particularly Mexico City—in the 1950s. Through this campaign, these women sought to construct an ideal form of Catholic womanhood that was both modern and moral—one that embraced modesty and sexual purity as a way for Mexico to modernize and progress. While the campaign had its roots in papal directives and was part of transnational discourses about morality, the Mexican women who participated saw their actions, nevertheless, in nationalistic terms. A modern Mexico, they argued, needed to have a strong moral base in order to be economically and politically successful; thus the morality they espoused centered on constraining women’s sexual expression.
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Carlson, Susan. "Comic Collisions: Convention, Rage, and Order." New Theatre Quarterly 3, no. 12 (November 1987): 303–16. http://dx.doi.org/10.1017/s0266464x00002451.

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How can the socially critical aspects of comedy be reconciled with a ‘happy ending’ which seems to affirm the existing order of things? This perennial problem has become acute in a period when both playwrights and comic performers are increasingly conscious of the dangers inherent in the stereotyping – racial, sexual, and hierarchical – on which so much comedy depends. In this article, Susan Carlson looks at some recent ‘meta-comedies’ which have used the form, as it were, to expose itself – notably, Trevor Griffiths's Comedians, Peter Barnes's Laughter, Susan Hayes's Not Waving, and Caryl Churchill's Cloud Nine – and analyzes their responses to comedy, which range from the despairing to the affirmative. She concludes that only Churchill has found a positive way of ‘connecting the painful recognitions of twentieth-century dissociations to comic hope’. Susan Carlson is Associate Professor of English at lowa State University. In addition to numerous articles on modern drama and the novel, she has published a full-length study of the plays of Henry James, and is currently working on a book about women in comedy.
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Dissertations / Theses on the topic "Women in comic books"

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Chenault, Wesley. "Working the Margins: Women in the Comic Book Industry." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-124907/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Marian Meyers, committee chair; Layli Phillips, Amira Jarmakani, committee members. Description based on contents viewed June 3, 2008. Includes bibliographical references (p. 120-123).
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Grixoni, Francesca Giusta. "The Evolution of Ms. Marvel." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.

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The evolution of Ms. Marvel consists of the analysis of two comic books with the same title and explains how the how the representation of women in comic books reflects transnational society. The first and original Ms. Marvel was published in 1977, and the second is a 2014 reboot with the same title. One of the few things they have in common is the title, everything else changed, giving the story a completely new life. The difference between these two comic books is the result of historical and social changes. The evolution of this unknown superheroine into a worldwide best-seller character represents the progressing steps towards an increasing female representation in comics, and consequently the evolution of a more inclusive popular culture. I will show how the comic book industry changed from being totally male-oriented to a more inclusive genre, and illustrate the history of women in comic books, both the female characters represented and the women who worked in the industry, and how these characters influenced our society.
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Brown, Jennifer L. "Female protagonists in shōjo manga from the rescuers to the rescued /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/137/.

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Leland, Jennie. "The Phoenix Always Rises: The Evolution of Superheroines in Feminist Culture." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/LelandJ2007.pdf.

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Plowman, Nicola Streeten. "A cultural history of feminist cartoons and comics in Britain from 1970 to 2010." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/70775/.

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Race, Kristen Coppess. "Batwoman and Catwoman: Treatment of Women in DC Comics." Wright State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wright1370512348.

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O'Brien, Amy Ann. "Boys' Love and Female Friendships: The Subculture of Yaoi as a Social Bond between Women." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-11202008-150110/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Jennifer Patico, committee chair; Emanuela Guano, Megan Sinnott, committee members. Description based on contents viewed Sept. 10, 2009. Includes bibliographical references (p. 141-147).
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Li, Yannan. "Japanese Boy-Love Manga and the Global Fandom: A Case Study of Chinese Female Readers." Thesis, Connect to resource online, 2009. http://hdl.handle.net/1805/1936.

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Thesis (M.A.)--Indiana University, 2009.
Title from screen (viewed on September 3, 2009). Department of Communication Studies, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): John Parrish-Sprowl. Includes vita. Includes bibliographical references (leaves 80-83).
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Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.

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This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.
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Nicosia, Matthew. "Performing the Female Superhero: An Analysis of Identity Acquisition, Violence, and Hypersexuality in DC Comics." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1476751594815625.

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Books on the topic "Women in comic books"

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Hernandez, Jaime. The lost women. Westlake Village, CA: Fantagraphics Books, 1988.

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Kevin, Smith. Clerks: The comic books. Portland, OR: Oni Press, 2000.

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Nguyen, Tom. Incredible comic book women with Tom Nguyen. Cincinnati, OH: IMPACT Books, 2010.

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Scalera, Buddy. Comic artist's photo reference: Women & girls. Cincinnati, Ohio: Impact Books, 2008.

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Scalera, Buddy. Comic artist's photo reference: Women & girls. Cincinnati, Ohio: Impact Books, 2008.

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Scalera, Buddy. Comic artist's photo reference: Women & girls. Cincinnati, Ohio: Impact Books, 2008.

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Girls and their comics: Finding a female voice in comic book narrative. Lanham, Md: Scarecrow Press, 2012.

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Ottaviani, Jim. Dignifying science: Stories about women scientists. Ann Arbor, MI: G.T. Labs, 1999.

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Ha, SiHyun. Comic. Seoul: ICE Kunion, 2006.

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Beverly, Hall, ed. Black Women for Beginners. New York: Writers and Readers Pub., 1993.

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Book chapters on the topic "Women in comic books"

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Donahue, James J. "Graphic (narrative) presentations of violence against Indigenous women." In The Routledge Companion to Gender and Sexuality in Comic Book Studies, 119–33. Abingdon, Oxon; New York, NY, 2020. | Series: Routledge companions to gender: Routledge, 2020. http://dx.doi.org/10.4324/9780429264276-12.

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Forni, Kathleen. "Comic Books." In Beowulf’s Popular Afterlife in Literature, Comic Books, and Film, 98–121. New York: Routledge, 2018. | Series: Routledge studies in medieval literature and culture; 9: Routledge, 2018. http://dx.doi.org/10.4324/9780429466014-6.

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Horner, Avril, and Sue Zlosnik. "Women Writing Women." In Gothic and the Comic Turn, 116–35. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230503076_6.

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Higgins, David M., and Matthew Iung. "Comic Books 1." In The Routledge Companion to Cyberpunk Culture, 91–100. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-12.

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Garcia, Rafael A. "Kickbacks for Comic Books." In Bribery and Corruption Casebook, 53–63. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204718.ch6.

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Wilson, Eydie. "Comic Books, Technology, And Dialogue." In Transforming Urban Education, 107–25. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-563-2_7.

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Le Dû-Blayo, Laurence. "Underwater Landscapes in Comic Books." In Underwater Seascapes, 119–33. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-03440-9_8.

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Asimakoulas, Dimitris. "Repeated Logic Offenders: Comic Characters." In Rewriting Humour in Comic Books, 125–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4_5.

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Asimakoulas, Dimitris. "Introduction." In Rewriting Humour in Comic Books, 1–6. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4_1.

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Asimakoulas, Dimitris. "Rewriting." In Rewriting Humour in Comic Books, 7–53. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4_2.

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Conference papers on the topic "Women in comic books"

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Gungor, Aylin. "Women’s Sex Representation in Comic Book." In The International Conference on Future of Women. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/26028646.2020.3103.

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Rivo-López, Elena, Jesús Fernando Lampón, Mónica Villanueva-Villar, and Carla María Míguez-Álvarez. "ENHANCING WOMEN´S ENTREPRENEURSHIP THROUGH A COMIC BOOK." In 15th International Technology, Education and Development Conference. IATED, 2021. http://dx.doi.org/10.21125/inted.2021.0365.

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Rigaud, Christophe, Srikanta Pal, Jean-Christophe Burie, and Jean-Marc Ogier. "Toward speech text recognition for comic books." In MANPU '16: First International Workshop on coMics ANalysis, Processing and Understanding. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3011549.3011557.

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"Automatic Text Localisation in Scanned Comic Books." In International Conference on Computer Vision Theory and Applications. SciTePress - Science and and Technology Publications, 2013. http://dx.doi.org/10.5220/0004301308140819.

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Ho, Anh Khoi Ngo, Jean-Christophe Burie, and Jean-Marc Ogier. "Panel and Speech Balloon Extraction from Comic Books." In 2012 10th IAPR International Workshop on Document Analysis Systems (DAS). IEEE, 2012. http://dx.doi.org/10.1109/das.2012.66.

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Rigaud, Christophe, Jean-Christophe Burie, and Jean-Marc Ogier. "Segmentation-Free Speech Text Recognition for Comic Books." In 2017 14th IAPR International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2017. http://dx.doi.org/10.1109/icdar.2017.288.

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Jomaa, Hadi S., Mohamad Kamereddine, Ammar Nayal, Yara Rizk, and Mariette Awad. "Affective Relationship between Color and Text in Arabic Comic Books." In 2016 12th International Conference on Signal-Image Technology & Internet-Based Systems (SITIS). IEEE, 2016. http://dx.doi.org/10.1109/sitis.2016.42.

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Barros, Diomara Martins Reigato, Luiz Ricardo Begosso, Jose Augusto Fabri, Alexandre L'Erario, and Vanderley Flor da Rosa. "The use of Comic Books in the Software requirements specification." In 2016 11th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2016. http://dx.doi.org/10.1109/cisti.2016.7521557.

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Yamada, Takaaki, Ryu Ebisawa, and Yoshiyasu Takahashi. "Maintaining image quality when watermarking grayscale comic images for electronic books." In 2011 9th IEEE International Conference on Industrial Informatics (INDIN). IEEE, 2011. http://dx.doi.org/10.1109/indin.2011.6034896.

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Dubray, David, and Jochen Laubrock. "Deep CNN-Based Speech Balloon Detection and Segmentation for Comic Books." In 2019 International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2019. http://dx.doi.org/10.1109/icdar.2019.00200.

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Reports on the topic "Women in comic books"

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Balancing the Books: Including women and protecting refugees is essential to realizing small business growth in Jordan. ACTED, CARE, Danish Refugee Council, Oxfam, Save the Children, December 2017. http://dx.doi.org/10.21201/2017.1336.

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