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An Ideological Analysis of the Guerilla Girls' Satirical Poster of a Movie Parody Entitled:
Unformatted Document Text:  Guerilla Girls’ "Birth of Feminism" Poster 15 perspective by incongruity as an effective rhetorical strategy for confronting the myths and denials of institutionalized sexism and prepare the audience for a different reality. Implications for Rhetorical and Cultural Criticism The direction my analysis took responds to a call for increased critical attention to nontraditional forms of rhetoric (Demo, 2000). Demo (2000) also suggests that critiques that engage the activist potential of specific comic strategies are important to investigate. Despite the Guerilla girls visibility and longevity, they have received limited interdisciplinary attention (Demo, 2000). The silence from academics stands in direct contrast to the group’s stature as a model of grassroots activism. My effort to outline the use of parody in the satirical movie poster, "Birth of Feminism" contributes to the analysis of nontraditional forms of rhetoric and the use of parody and satire in grassroots activism. The aesthetic style of the posters has been widely recognized and the posters are included in the collections of the very museums that they criticize. As a group who primarily communicates their message through visual forms and in unconventional ways, the Guerilla Girls demonstrate how comic strategies function within a visual medium (Demo, 2000). This popular format is non-threatening yet powerful. The mix of outlandish images and words form a credible hyperbole that raises consciousness about the inadequacies of the social order without scapegoating (Demo, 2000). Finally, the groups’ visual style maximizes the resources of popular culture, specifically, an advertising aesthetic. This use of pastiche fosters identification with those who would typically reject or ignore feminist rhetoric. The coupling of comic subversion and visual rhetoric opens up both how and where feminist resistance happens. Demo (2000) points out that feminists such as Susan Faludi, Robin Morgan, and Lucy Lippard cite the group as a model. bell hooks writes that "the work of the Guerilla Girls

Authors: grisso, Ashley.
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Guerilla Girls’ "Birth of Feminism" Poster 15
perspective by incongruity as an effective rhetorical strategy for confronting the myths and
denials of institutionalized sexism and prepare the audience for a different reality.
Implications for Rhetorical and Cultural Criticism
The direction my analysis took responds to a call for increased critical attention to
nontraditional forms of rhetoric (Demo, 2000). Demo (2000) also suggests that critiques that
engage the activist potential of specific comic strategies are important to investigate. Despite the
Guerilla girls visibility and longevity, they have received limited interdisciplinary attention
(Demo, 2000). The silence from academics stands in direct contrast to the group’s stature as a
model of grassroots activism. My effort to outline the use of parody in the satirical movie poster,
"Birth of Feminism" contributes to the analysis of nontraditional forms of rhetoric and the use of
parody and satire in grassroots activism.
The aesthetic style of the posters has been widely recognized and the posters are included
in the collections of the very museums that they criticize. As a group who primarily
communicates their message through visual forms and in unconventional ways, the Guerilla
Girls demonstrate how comic strategies function within a visual medium (Demo, 2000). This
popular format is non-threatening yet powerful. The mix of outlandish images and words form a
credible hyperbole that raises consciousness about the inadequacies of the social order without
scapegoating (Demo, 2000). Finally, the groups’ visual style maximizes the resources of popular
culture, specifically, an advertising aesthetic. This use of pastiche fosters identification with
those who would typically reject or ignore feminist rhetoric. The coupling of comic subversion
and visual rhetoric opens up both how and where feminist resistance happens.
Demo (2000) points out that feminists such as Susan Faludi, Robin Morgan, and Lucy
Lippard cite the group as a model. bell hooks writes that "the work of the Guerilla Girls


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