Another issue closely related to the idea of relational
power dynamics is the sexual objectification of female superheroes. When we
look at the characterization of female superheroes on the pages of comics, we
are presented with women in revealing costumes. These costumes are designed in
such a way to show off their physical features. Women are depicted with large
breasts and small waistlines. It’s that stereotypical Barbie doll figure.
These costumes when put into the real world are wholly
unworkable and impractical. The costume is not designed for any other purpose
than to present the female hero as a sexual object. Let’s take, for instance,
the comic book costume of Scarlet Witch. Her costume is basically a strapless
body suit with a cape, knee-high, high heeled boots, and head piece.
As anyone with large breasts can attest to, in reality, a
strapless any piece of clothing presents the possibility of popping out of said
garment. That’s just with minimal movement. Add in the physical demands of
being a superhero, and it’s a recipe for a wardrobe malfunction. Therefore,
when added to the MCU, there were some complaints about the changes to the
costume. This costume was less revealing and ultimately more practical;
however, it did retain an element of sexualization in as much as the costume
was a form-fitting corset, black “leather” pants, knee-high boots, and long
tailored jacket with tails.
The problem of transferring comic costuming for women to the
big screen is more than just the practicality issues of making the costumes
work in the cinematic world. There is also the issue of the rating system as it
relates to female sexuality. As previously discussed, the MPAA views depictions
of female sexuality with greater scrutiny than depictions of male sexuality. A
sexually-empowered female character is more likely to be seen as requiring a
more strict rating than what the typical comic book-based film looks for.
While the objectification of women is problematic, there is
something to be said for genuine portrayals of female sexual empowerment. This
does not necessarily mean that women wearing revealing clothes is
objectification. It really all depends on the reason behind the choice. It is possible
for women to wear tight or revealing clothing purely as an expression of their
own sexuality. However, when it becomes something that is solely for the male
gaze, it becomes less about female sexual empowerment and more about the
objectification of women primarily for male satisfaction.
This issue is at the heart of the depictions of female superheroes.
When we look at the target demographic of comic book films, they are typically
geared towards cis-gendered, straight white males age 18-34. It is also often the
case that the writers and directors of these films are cis-gendered, straight
white males as well albeit often outside of that 18-34 age demographic. As hard
as they may try, and to be fair there are some male feminists at the table, it
is impossible for them to really understand the complexity that is female
sexuality just as it is impossible for me to really understand the complexity
of male sexuality. As a result, female sexual power is boiled down to the
lowest common denominator and created for the satisfaction of the male gaze. It
isn’t about the choices a female superhero might make for herself but rather
looking at what would make her attractive to the target male demographic. Thus
it ceases to be honest in its depiction of female sexual expression.
With the news that the second season of Jessica Jones will be directed by all women and have a mix of male
and female staff writers, I am hopeful that this series will have a positive
impact on the problem of how female sexuality is depicted in the superhero
world. Although it will be helmed by a woman, I am less hopeful about the
upcoming Wonder Woman film as it was
written by an all-male writing team that includes Zack Snyder, someone who has
been at the forefront of the depiction of female comic book characters in terms
of fulfilling the male sexual fantasy.
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