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WOMEN AND THE COMIC. X

(PROGRAMME thousand words. 26 NOVEMBER 2009)

Tilden First you did not macho, the intention of talking about women and comics is not intended as a listing of female characters displayed by the cartoons, but it is the day I write this is 25 November, a day that is remembered that there is still a macho culture and violence against which struggle and no end. Tracing

network for more documentation I have entered two main variants in the treatment of post "Women in comics", this feminist analysis of the role of women in the world of historeta and on the other side The "analysis" male characters appearing in comic strips. Ie which of the heroines' is more or less good. "

and many quotes are used from the beginning of this post, are on purpose, I would be very careful with this stuff and not fall into expressions that can be misinterpreted.

is obvious that the comic is primarily visual language and that it are drawn characters who have a physical splendor. The funny thing is that most of the comics that we can come to the imagination, and tend to be the superhero, men have a spectacular musculature and women are drawn highlighting their feminine attributes and with a garment that stands out.

The image of other comics is much more prissy, and, in many comics, women are helpless to those who need protection and care because they are unable to fend for themselves. Asexual beings are valid only as mothers or sisters. Or worse, are lousy, the villains, the man-eating, which show a much stronger sex.

However, only analysis of women in comics focusing on superhero comics, is very partial. Since the beginning of the story has been women in comics and their role and treatment varied depending on the seasons and the various achievements of women in society. I will speak only of a certain moment I want to emphasize.

Women American comics of the 30 is dependent on the hero, but independent economic, social and labor. The heroines of Terry and the Pirates, Superman, Flash Gordon and Tarzan, fighting, acting, have their own life, yes, about the hero. Not cease to be a reflection of the advancement of American society of the 30's, much more advanced in certain respects that of Europe, and in which women had begun to work and kept some independence, but not pull himself up to high places society.

English comics in the role of women has been lost, and often the woman is a housewife, Ulises Families, Chive and Trebizond, and Zape Zipi or work but as a secretary, or bologna and Anacleto Philemon. It is also the reflection of a society that enshrines in law the submission of women to men. Cases other than those of literature in comics aimed at girls, which topics do not go beyond how to marry well and be a perfect wife. Lily, Sissy, Azucena, My Girl, Florita, Mary News, part of the culture that said women could not but interpret what men actually gave. Getting out of that role were Doña Tula, Doña Urraca, and Sigrid, the first two because they showed a different woman, hardened and calloused by the war and its aftermath, vicious and hard to man, so they had problems with censorship. A woman could not hit a man About the limit!. Sigrid is another woman, endowed with great beauty and independent, with censor problems came on the other hand, politics and concubinage.

The progressive women's independence, independence itself but because they were not handcuffed, he discovered that they themselves own their bodies and sexuality. This results in that, in the late 60's, and for all 70, both film and comics, the representation of nudity and sexual connotations have intellectuals and freedom, not just sexual. Is the time of Vampirella, Barbarella, Milo Manara, Guido Crepax, etc ... This led

that over time and distorted the above sense, emergence of a comic in which women ceased to be hero and became just a sex object, tinged with pornography. (Kiss Comix, Penthouse Comics and various publications of purely masturbatory dyes).

But women do not only maintain a relationship only character in the comic but are authors and readers. As readers have been the most abused among all those who are targeted comics. Not because it is necessary to have specific publications for them, but because the authors have almost never considered that she read what they do and have cut off, by default, about half the world we inhabit.

As the authors properly emphasize that Maitena and Marjane Satrapi are not alone. Frank Miller's wife, Lynn Varley, appears in the credits of 300, I am sure that there is a reason of condescension, but because his contribucioón to color in this work is essential. This paper, ink or colored, has traditionally been the industry left in the hands of women or children because they felt their smaller hands could give more precision to work. The problem is that you never have recognized its merits.

This is changing and we can name a handful of Women: Claire

Bretécher, French great, much appreciated by critics, with illustrations and albums seem very original and fun, inspiring Bretécher Maitena is the author Argentina's current popularity.
Mary Fleener, American feminist of the seventies, considered a pioneer of comics feminine and feminist.
Jessica Abel, very modern both in its design as it recreates the world.
Julie Doucet, Canadian comic autobiographical responsible brave and without makeup.
Cathy Guisewite, American genius who portrays the world actual y las difícil comunicación con el llamado "sexo fuerte".
Lynn Jonston, canadiense, autora de historietas inspiradas en su propia vida de madre de familia.
Phoebe Gloekner, norteamericana, autora autobiográfica muy destacada por la crítica.
Debbie Drechsler, también estadounidense que denuncia en sus álbumes los abusos sexuales que sufrió en su infancia.
Marjane Satrapi responsable de un cómic muy personal, autobiográfico, en el que narra su infancia en el mundo cambiante de su país tras la caída del Sha.
Maitena.