Women’s Sex Representation in Comic Book
Keywords:comics, women, gender representation, objectification
The representation of women has always been different in comics from past to present.
Some women have been shown in the comics, in the role of being saved by a male superhero, or in a
sexy female image with pornographic elements. The scarcity of female illustrators and writers, being
male among publishers consists of the necessary information for the research of comics among the
gender studies. Just as there are gender and objectification elements in real life, there are also these
approaches to the female body in comics. Towards the 21st century, together with the movements of
feminism, both the technological conditions and the digitization of the comics have made women's
representation a little more free. For this reason, the methodology of the research has been
determined as Fourth Wave Feminism. Now, they can explain the female lesbian culture and sexual
policies independently of society in the comics of Alison Bechdel's Fun Home and a series of images
that depict Belden Sezen's A Snapshot. The handling of such female characters in comic books and
graphic novels firstly enables the students to make accurate determinations while breaking the
prejudice of the society, and then when determining the orientation of the young generation, and that
women can live their identity freely as an individual. Based on all these information and results, in
this research, the representation of women in comics will be explained through a historical
evaluation and then criticized in terms of gender.
Berger, J., 2008, Görme Biçimleri (İstanbul: Metis Yayıncılık).
Butler, J., 2018, Cinsiyet Belası, Feminizm ve Kimliğin Altüst Edilmesi (İstanbul: Metis Yayıncılık).
Chute, H., 2010, Graphic Women: Life Narrative and Contemporary Comics (New York: Columbia University
Cocca, C., 2014, The Broke Back Test: A Quantitive and Qualitative Analysis of Portrayals of Women in
Mainstream Superhero Comics 1993-2013. Journal of Graphic Novels & Comics, 5(4), 411-28.
Cochrane, K., 2013, All the Rebel Women, The Rise of The Fourth Wave of Feminism (UK: Guardian Book).
Harness, B., 2010, Happy Belated Birthday, Betty Boop!, Date of access: 01. 02. 2020.
https://www.mentalfloss.com/article/25509/happy-belated-birthday-betty-boop adresinden tarihinde alınmıştır.
Klein, S., 1991, Breaking the mould with humour: Images of Women in the Visual Media, Art Education, 46(5),
Madrid, M., 2013, The Supergirls, Fashion, Feminism, Fantasy, and History of Comic Book Heroines
(USA:Exterminating Angel Press).
McCloud, S., 2017, Çizgi Romanı Anlamak (İstanbul: Sırtlan Kitap).
Patton, M, 2014, Nitel Araştırma ve Değerlendirme Yöntemi (Ankara: Pegem Akademi).
Robbins, T, 2002, Gender Differences in Comics. Image & Narrative Issue 4. Gender Issue, Date of access:
Sabin, R., 2003, Comic Comix and Graphic Novels: A History of Comic Book (London: Phaidon Press).
Stotter, M., 2014, She Makes Comics (USA: Respect Film and Sequart) (Watched from DVD on 10.01.2020).
Türk, B. H., 2013., Hayali Kahramanlar Hakiki Erkekler, Çizgi Roman ve Fotoromanda Erkeklik Temsilleri
Üzerine Denemeler (İstanbul: İletişim Yayınları).
Trier-Bieniek, A., 2015, Feminist Theory and Pop Culture (Rotterdam: Sense Publishers).
Versaci, R., 2007., This Book Contains Graphic Language: Comics as Literature (New York and London:
Vincent, A. E., 2011., Performativity in Comics: Represent of Gender and Sexuality in Alison Bechdel’s Fun
Home (Colorado State Universtiy Department of English Master Thesis, Colorado).
How to Cite
This work is licensed under a Creative Commons Attribution 4.0 International License.