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Perea, Katia. "The Power Girls Before Girl Power: 1980s Toy-Based Girl Cartoons." Refractory 22 2013. Accessed 3Jul. 2014. <http://refractory.unime ... ower-girls-katia-perea/>. Added by: joachim (7/3/14, 9:19 AM) Last edited by: joachim (2/12/20, 12:19 AM) |
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| Resource type: Web Article Language: en: English Peer reviewed BibTeX citation key: Perea2013 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Little Lulu", Adaptation, Animation, Buell. Marjorie Henderson, Children’s and young adults’ comics, Comic strip, Gender, Intermediality, Randformen des Comics, TV, USA Creators: Perea Collection: Refractory |
Views: 27/989
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| Attachments | URLs http://refractory. ... girls-katia-perea/ |
| Abstract |
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The socio/cultural history and partnership of toy advertisement and children’s television is rich and well documented (Schneider 1989, Kunkel 1988, Seiter 1993). In this article I discuss the influence of policy in girl’s cartoon programming as well as the relationship between commercialization and financial motivation in creating a girl cartoon media product. I then discuss the formulaic, gender normative parameters this new genre set in place to identify girl cartoons as well as girl media consumption and how within those parameters girl cartoon characters were able to represent an empowered girl popular culture product a decade before the nomenclature Girl Power. This research considers the socio-historical framework of programming in the 1980s toy-based cartoon era to assess how cartoons playfully promote a counter-hegemonic force on television’s socially compulsive gender coding. This research textually analyzed several episodes of Rainbow Brite, My Little Pony, Care Bears, Strawberry Shortcake and television girl cartoons from 1981–1988, to initiate a thematic coding scheme documenting what is occurring both verbally and visually regarding gender display and gender dynamics between characters. The coding was analyzed to identify systems of gender behavior that are both intentionally overt and naturally transgressive, traditional feminine traits and subtle, counter-normative characteristics. This includes, but is not limited to, clothing, behaviors, accessories, jokes, images, songs, background design, friendship dynamics and dialogue reproduced verbatim.
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