Meredith+Dionysus

= Ultimate Avatars:  = = = = Feminism and Twentieth Century Pin-Up Girls  =

Abstract This is an analysis of feminist view and theory regarding the most popular pin-up girls of the mid-twentieth century. This article contends that the majority of these pin-up girls were more akin to avatars, such as those we use in Second Life, before avatars existed as they are known today. The large focus of this analysis is on Marilyn Monroe, Bettie Page, and, to a lesser extent, Judy Garland. //Keywords:// Feminism, Marilyn Monroe, Judy Garland, Bettie Page, Avatars, pin-up girls

Ultimate Avatars: Feminism and Twentieth Century Pin-Up Girls Meredith Dionysus is a tall, slender, leggy blond who goes horseback riding, swims with dolphins and explores other cultures. She is the Second Life avatar of Tabi; a short, average size brunette who sits at her computer in pajamas while Meredith explores the virtual world. In today’s society, programs like Second Life allow anyone the chance to become the “ultimate” or “inner” versions of his or herself when interacting with others. Even prior to the invention of the internet, this type of interaction took place many times and in many venues over the years. Some of the world’s most famous avatars came in the form of the mid-twentieth century pin-up models such as Marilyn Monroe, Judy Garland and Betty Page. These women changed their body size, hair and even names before stepping into the spotlight; only they did it in Hollywood. These pin-ups existed as the ultimate social avatars and, somewhat surprisingly, feminist thought and theory tends to surround the “avatars” as opposed to the people themselves. Perhaps even more surprisingly, feminist tend to embrace and accept these pin-up girls rather than reject them for “exploiting” their sexuality.

Before examining how and why feminists accept and embrace these pin-up girls, it is necessary to understand the avatars that these women created. In the summer of 1935, thirteen year old Francis Ethel Gumm, with the help of her mother, legally changed her name to Judy Garland. Three years later, it would be a slimmed down Judy, not Francis, who would become the well know star of MGM’s “The Wizzard of OZ” (Clarke 2000). In 1943, twenty year old Bettie Page began a modeling career that would later label her as “the queen of pin-up” (Bettie Page, LLC) and “the Queen of Bondage” (Bartow, 2008). In what way did this make Bettie and avatar? She only did the bondage shoots to get paid for the remainder of her four-hour shoots, and would have to publically pretend to be confident and outgoing (Bartow, 2008). In 1946, when red-headed Norma Jeanne Baker dyed BLEACHED her hair, added a birth mark to her upper lip and changed her name to Marilyn Monroe, what is arguably the world’s most famous avatar came into existence (Leaming, 1998).

The knowledge that feminists accepted these women, or avatars, brings to mind a host of questions (Guiles, 1991). For example: why would feminists, as a whole, not criticize these women for playing up their sexuality or accuse them of “cheating” and gaining fame by conforming to a man’s view of femininity? Why would feminists not argue that these pin-up girls are nothing but oppressed women, who happen to have been made famous because they achieved the “perfect” body image? Before answering these questions, a basic understanding of the feminist movement is necessary.

Ellen DuBois defines feminism as “a political concept with three parts”:

//1. an analysis which tries to explain why and how women are oppressed,// //2. a vision of a society in which women are liberated and sex role stereotypes are obliterated,// //3. a conviction – that the oppression of women is a primary contradiction in society (DuBois, 1971).//

DuBois also identifies two major feminist waves in the United States. The first wave began in 1835 and lasted until women won the right to vote in 1920. The second wave began in the 1960s and lasted through and unidentified period of time (DuBois, 1971). Because of the age of the article, DuBois’ information is best coupled with Pollitt’s distinction of first through third and “fourth” wave feminism. When pairing these articles, it is easy to see why Dubois referred to the second feminist wave as ending “…who knows when” (DuBois, 1971). Pollitt points out that from the beginning of second feminist wave on, each generation has produced feminists that have developed their own set of values and beliefs; either as run-ons of their predecessors’ views, or as a reaction to the dislike of those views. We are now well into the fourth generation of feminists, semicolon (XXwhich XX) Pollitt satirically pleads, that it not be called “the fourth wave” (Pollitt, 2009).

Part of the answer to REASON FOR? feminists’ acceptance of the personalities created by the pin-up models lies in the ascertain KNOWLEDGE ? that feminist waves are initiated by women who “…had attempted to function politically in the major reform movements of their days, and had found that because they were women, they would be unable to do very at all” (DuBois, 1971). After doing their research, feminists would discover is that Garland, the central character in “The Wizzard of Oz”, made less money than every other central character in the film, except for the dog that played Toto. Toto was paid $125.00 per week compared to Garland’s $500.00 (Clarke, 2000). (To put this in perspective, you should mention what the other actors were paid) Later, in the 1950’s, while anti-feminists were claiming Marilyn Monroe as the “ultimate sexpot”, feminists were looking beneath the surface and discovering that Monroe changed her name from Norma Jeanne because her agents thought it was more glamorous. She also became blond because that casting directors were looking specifically for “…platinum blonds with wavy, not curly, hair” (Guiles, 1991). Page, for her part, was participating in bondage photo shoots solely because she would not get paid for her four-hour shoot unless she did an hour of bondage (Bettie Page, LLC).

In recent years, the popularity of these pin-up girls has resurfaced, possibly even grown, as symbols of AND IS SYMBOLIC OF THE? modern feminist movement. One feminist and music enthusiast, Elektric Emily, write blogs dissecting the meaning of various songs. One such blog titled “Why Lady GaGa’s Music is Feminist: Part 2 – More Fame” declares that GaGa’s music is feminist because the people mentioned in a particular song are:

//“ Marilyn Monroe, Judy Garland, Sylvia Plath, JonBenet Ramsey [and] Princess Diana. …I think partly the reason they are mentioned is that we look up to these women as// because //icons…yet, we know, no matter how beautiful we think these famous women [are]…that doesn’t mean that you do not have your own self-esteem issues…Gaga is saying…we’ll band together in the dark…women need to support each other” (Elektric Emily, 2009).//

Essentially, today’s feminists are looking to these pin-up girls as models of needing female support and overcoming body issues.

Another example of today’s feminists accepting the pin-ups is in the extravagant festivities planned in honor of Monroe’s 75th birthday in 2001. The festivities planned in honor of Monroe’s milestone birthday provided feminists a platform on which to spread their message to a wider audience. “Feminists today are citing [Monroe’s] life as an example of how sexism objectifies women” according to Krum’s 2001 article “Happy Birthday, Marilyn” which appeared in //The Guardian.// While it is a blessing that feminists are able to use these pin-up girls to illustrate their point regarding gender equality and sexism, among others, it is important that they continue to be careful not to project messages that confuse the avatars with the real people. Sadly, Monroe suffered from so much insecurity that film studies ??? wasted hundreds of rolls of film because they had to keep the cameras rolling, even after the director yelled “cut”, in order to keep her from losing character, crying, and asking for a re-take (Guiles, 1991). Page cut her modeling career short at the height of her popularity because she was concerned that at her “old age” of thirty-five her beauty had decreased. She only resurfaced, granting limited telephone interviews and refusing to let any photograph her in her old age, in the mid nineties before her death in 2008 (Bettie Page, LLC). Garland, at her own mother’s behest, took a series of uppers and diet pills beginning in her pre-teens until her untimely death due to an over dose (Clarke, 2000). It is important to remember that behind every avatar, in any medium, is an insecure girl in pajamas.

References Bartow, A. (December 15, 2008). A Bit More About Bettie Page. //Feminist Law Professors.// Retrieved from [] This is a helpful article showcasing an interview with Page just a few years before her death. It highlights her views on her recent height in popularity and her views on the bondage photos taken. In this interview, she publically states that bondage was never her thing, although she never really looked down on it, but the girls only got paid for their four-hour shoots if they did an hour of bondage. Bettie Page, LLC. The Official Website: Bettie Page Pin-Up Legend. Retrieved from [|http://www.bettiepage.com] Provides photographic stories of Page’s life and variety of work as well as quotes and interviews from Page. Clarke, G. (2000). //Get Happy: The Life of Judy Garland.// New York, NY: Dell Publishing. Provides details of the life and death of Judy Garland. Briefly mentions feminism, however, for the purposes of this paper, the facts of her date of birth, name and death were all that was taken from this book. DuBois, E. (1971). Feminism Old Wave and New Wave. //The CWLU Herstory Website Archive.// Retrieved from [] This article helps illustrate the applied definition of the feminist movements. Elektric Emily (December 31, 2009) Why Lady GaGa’s Music is Feminist: Part 2 – More Fame. //Jukebox Heroines: A Women in Music Blog.// Retrieved from [] This is a blog written by a feminist and music enthusiast. It helps to illustrate how sex symbols like Page, Monroe and Garland are still relevant in today’s world and feminist movement. Guiles, F. L. (1991). //Legend: The Life and Death of Marilyn Monroe.// Lanham, MD: Scarborough House. Provides details and photographs on Monroe’s life and death. This book takes and in depth look at why Monroe changed her name, her look and her personality all together. It also touches on the feminist view of Monroe. Krum, S. (May 29, 2001) Happy Birthday, Marilyn. //The Guardian.// Retrieved from [] An interesting article discussing why such large festivities to honor Monroe’s 75th birthday had been planned, what role feminists played in these festivities and why Monroe would probably not be thrilled with celebrating the milestone. Leaming, B. (1998). //Marilyn Monroe.// New York, NY: Three Rivers Press. Another book providing in depth details of Monroe’s life and death. For the purpose of this paper, however, Monroe’s date of birth, name change and date of death were all the information pulled as the previous book on Monroe provided more in depth detail on the subject at hand. Marilyn Monroe, LLC. (2006). Marilyn Monroe’s Official Website. Maintained by CMG Worldwide. Retrieved from [|http://www.marilynmonroe.com] This provides the “official” Monroe biography as well as quotes from Monroe and photographs. Pollitt, K. (June 15, 2009). Amber Waves of Blame. //The Nation.// Retrieved from [] This class material provided on Carmen. For the purpose of this paper, it will be used as the “definitive” source when defining the various waves of feminism and the differences between them. Tong, R. P. (1998). //Feminist Thought.// Boulder, CO: Westview. Retrieved from [] This material that was provided for class via the Carmen website. For the purposes of this paper, it will be used as the “definitive” source for defining the different types of feminist thought and theories.