Includes bibliographical references (pages 178-190) and index.
Contents:
"It's a bird! it's a plane! it's an elementary-aged girl!": remembering a time in American comics when young female protagonists ruled -- "Then I could have a real papa and mama like other kids": Little Orphan Annie, the orphan girl formula, and the nanny state -- "I slant my gags to the Lawrence Welk gum chewers?: Nancy and the Vaudeville aesthetic -- From battling adult authority to battling the opposite sex: Little Lulu as gag panel and comic book -- In your dreams: Little Audrey, freudian psychoanalysis, and postwar child psychology -- "From the top, stupid!": the Li'l Tomboy comic book series, female juvenile delinquency, and the comics code.
Summary:
"For several generations, comics were regarded as a boy's club--created by, for, and about men and boys. In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre's entire history. Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In this volume, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li'l Tomboy--a group that collectively forms a tradition of funny girls in American comics. Abate demonstrates the massive popularity these funny girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising."--Provided by publiser.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.