A project completed for HON109 at Murray State University.

1. Existence Beyond Bodies: The Women of Black
Panther: A Nation Under Our Feet
Analysis by Norah Laughter
Comics written by Ta-Nehisi Coates

2. “The Male Gaze” In Superhero Media
Laura Mulvey’s well-known film theory often describes the portrayal of women in media as “catering to the male
gaze” because the characters appear to be written for the viewing of a heterosexual male. The overarching goal is to
satisfy the of a male viewer, both in imagery and in action. This promotes consumption; the concept that “sex sells”
drives the depiction of female characters as plot devices that serve the male character’s story, which in turn shapes
the female characters appearance, actions, and interactions.
The Male Gaze theory has gained a lot of prominence because of its assertion that all media that does not actively
work against the traditional portrayal of women is catering to the male gaze. In media, the actions a women takes,
including things as minute as walking, have some sort of sexual engagement factor; the clothes she wears could
emphasize her figure, her hips could move a particular way, the camera could be tilted at an angle that focuses more
on sexualized parts of the body rather than focusing on the action of walking itself. Sometimes it is the character’s
personality that serves the male gaze; overly submissive women hell-bent on serving and supporting their male
interest create one-dimensional characters that male viewers are able to sexualize.
In superhero media, the male gaze can be seen in a variety of forms. When a female character frequently discusses
romantic interests, this can cater to the male gaze; men want to see women discuss their relationships with men
because it allows for sexualization. They often wear clothing that is not practical for superhero activity because it
emphasizes their bodies and appearance. Female superheros often serve as sidekicks as well, and when they do have
a love interest, that love interest is often another well-known superhero or character within the cinematic universe, as
opposed to Superman, whose love interest was exclusively made so that he would have some sort of romantic
subplot.

4. Traditional Illustration of Women in Comics
It is blatantly obvious that female characters
often are designed to be visually palatable, and
there is often correlation between the
attractiveness of a character and the costume
the character wears. The positioning of the
female character is also significant; female
superhero often pose with their backs facing
the camera and their heads turned over their
shoulders, whereas male superheroes often
face forward in a dominant, powerful stance.
On the left, Wonder Woman, despite being in
distress, is positioned to emphasize her shape
and sex appeal, whereas Superman stands with
his body facing the viewer to emphasize his
strength.

5. Illustration of Women in Black Panther: A Nation Under Our Feet
One of the most notable features of the comic Black Panther: A
Nation Under Our Feet is the illustration, but there is one
particularly striking aspect that combats traditional
representation of women. The women are drawn in a rather
unconventional manner; not only are they in clothing suited for
their environment and physical occupation, but they are drawn
with muscles and definition. The poster image for traditional
comic heroines is perhaps Wonder Woman, though she could
also double as the poster image for impractical outfits for
combat. Shuri (left) is a character from the Black Panther
franchise, and in her illustration she is often shown in outfits
with Wakandan (and African) significance while also clearly
showcasing her strength as an athletic woman. She wears a
headdress and clothing with armor; while her shoulders look
bulky (a typical no-no in womens’ clothing if you’re aiming for
sex appeal) she still appears fit and pretty. It is evident by her
stance that she is not posing to showcase her body, but rather to
showcase her strength.

6. The Bechdel Test: Does Black Panther: A Nation Under Our Feet pass?
The Bechdel Test is a set a criteria established by queer cartoonist Alison
Bechdel used to measure the representation of women in film, though the test
can also apply to other forms of media, including comics. The criteria are as
follows: 1) the media has at least two women in it, 2) these women talk to each
other, and 3) they talk about something other than a man. In many instances,
media does not pass the test because the discussions held by the two women are
focused on romantic involvements within the plot.
Black Panther: A Nation Under Our Feet does, in fact, pass the Bechdel test.
One of the most important scenes of the comic involves Shuri finding Aneka, a
former member of the Dora Milaje and a current Midnight Angel, in the forest
and confronting her about her actions taken in rebellion against the monarchy.
Not only does this conversation not include the discussion of a romantic interest
(there is no instance in the comic where a female character does discuss a male
interest, apart from the occasional allusion to Storm) but it also includes
dialogue that serves as a testament to the intelligence and ambition the two
women have. While they are on opposing sides of a conflict, they still represent
a shift in comic portrayal of women, as they are able to have an effective
discussion about the future of Wakanda and not discuss a romantic interest.

7. Shuri and Breaking Traditional Power Dynamics
Shuri, in the Black Panther franchise, is T’Challa’s sister. In this specific
comic, she is in a state of Living Death (The Djhalia) after dying during
combat. In this realm, an entity referred to as The Griot takes the form of her
mother as she explores a variety of stories with messages pertaining to
Wakanda and the role of the monarchy. She obtains new powers in this realm,
as well as the entire history of Wakanda, which lives in her memory.
The most interesting thing about Shuri as a character is her relationship with
her brother and her relationship with Wakanda. She is a very orderly person
who finds value in tradition, but she is also an intellectual with a complex
understanding of diplomacy and servitude. Her brother often struggles with
identity, but Shuri appears surefooted in her own understanding of herself. She
is an autonomous person with self control, which serves as balance to T’Challa.
She frequently offers guidance, and without her advice and consent, the defeat
over Tetu at the end of the book would not have been plausible.
In traditional media, the role of a sister is often to assist her brother
emotionally, which Shuri fulfills. It is instead her portrayal and sensibility that
sets her apart; not only is she a very independent woman with sharp wit and
strategic intelligence, but she is never sexualized by any male character in the
series. She is to serve as a partner to T’Challa, not a supporting role, which is
perhaps a much more common sibling dynamic. T’Challa does not exert power
over her and instead values her input.

8. The Midnight Angels and Rebellion
Ayo and Aneka, two former members of the Dora Milaje,
became a part of a group aimed at improving the lives of women
in Wakanda by eliminating powerful men who threatened the
safety of women. They frequently touch on concepts of bodily
autonomy, especially because their former position within the
monarchy entailed them giving their bodies as protection for
men. This active discussion about women’s autonomy defies the
male gaze because it does not involve a male savior; these
women fight for what they want and discuss what they want
without diluting its power with male interests. The relationship
between Ayo and Aneka itself also defies the male gaze.
Frequently, queer relationships between two women are
fetishized for a male audience, but in Black Panther: A Nation
Under Our Feet the relationship is not a main plot for Ayo and
Aneka and it is never exploited by the writers to create sexually
appealing imagery or dialogue. They exist outside the influence
of sexualization, and this allows them to be powerful characters
with autonomy over their identities and missions.

9. Zenzi vs. The Sidekick Archetype
In superhero media, there is often an implied sidekick in villain duos. This is more
prevalent in children’s media (the power dynamic is often exploited for the sake of
humor, see Kim Possible). In Black Panther: A Nation Under Our Feet Tetu and
Zenzi share power and influence over the rebellion. Zenzi is aware that her role
within the fight is to use her power, her body, to control their mass of soldiers, and
she works with Tetu rather than for Tetu. She also is a very vengeful person whose
rage carries her through the comic and repeatedly comes up to emphasize her
justification for rebellion. This rage is often uncommon in media, especially because
the rage is not directed a man or a love interest, but rather at the existing power
structure in Wakanda. This means that Zenzi is above the typical portrayal of a
female villain; she is motivated by a cause that is separate from a male.
Her most powerful assertion of her autonomy is actually at the end of the battle with
Tetu. She chooses to flee and protect herself and her body, perhaps out of selfishness,
but regardless, this is evidence that she is an intelligence and independent person; she
chose self-preservation instead of fruitless sacrifice. There is also never any sort of
romantic interactions between Tetu and Zenzi. Instead, they are a functional duo that
relies on the strengths of the partner to reach an end goal. Despite the fact that this
end goal was not obtained, she still exhibited an understanding of herself and her own
prowess because she chose to escape.