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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 6 (Demo, 2000). The strategy that the Guerilla Girls use to establish a perspective of incongruity is strategic juxtaposition. Strategies of incongruity have the potential to both denaturalize and restructure a particular context, ideology, or meaning (Demo, 2000). Also a more general tool that the Guerilla Girls create and embody is a comic politics of subversion that is closely linked to Burke’s discussion of the comic frame (Demo, 2000). Guerilla Girls rhetoric demonstrates how planned incongruity pokes fun at the failures of the social structure, while it sometimes offers a comic corrective to such failings (Demo, 2000). According to Burke (1964), comedy and humor are "frames of acceptance" and "’strategies’ for living" (p. 87). Demo tells us that Burke indicates that the comic frame privileges audience by providing a unique vantage point from which to see the inaccuracies of a situation and this potentially heightens the audience’s consciousness (Burke 1937/1984 in Demo, 2000). So it can be said that the Guerilla Girls’ subversive activities, and specifically the creation and presentation of the satirical movie poster, operate as sophisticated consciousness-raising tactics. Analysis Parody is effectively used in this artifact to make fun of the stereotypes that the movie industry perpetuates. By exaggerating the callous lack of respect that women are shown through the use of their bodies to sell products, in this case mainstream movies, and by demeaning their larger contributions to society at large, the insidious nature of patriarchy in the entertainment industry is lampooned. The strategies of incongruity used by the Guerilla Girls foreground the very myths that seek to keep women in their place as muses, not creators of art and film, and as objects, rather than agents of history. The Guerilla Girls mission since forming in 1985 has been to fight sexism and racism by demonstrating the incongruity of conventional definitions of femininity and feminist activism (Demo, 2000). The group embodies and presents an exaggeration and playfulness with norms of femininity that connects femininity and feminism in

Authors: grisso, Ashley.
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background image
Guerilla Girls’ "Birth of Feminism" Poster 6
(Demo, 2000). The strategy that the Guerilla Girls use to establish a perspective of incongruity is
strategic juxtaposition. Strategies of incongruity have the potential to both denaturalize and
restructure a particular context, ideology, or meaning (Demo, 2000). Also a more general tool
that the Guerilla Girls create and embody is a comic politics of subversion that is closely linked
to Burke’s discussion of the comic frame (Demo, 2000). Guerilla Girls rhetoric demonstrates
how planned incongruity pokes fun at the failures of the social structure, while it sometimes
offers a comic corrective to such failings (Demo, 2000). According to Burke (1964), comedy and
humor are "frames of acceptance" and "’strategies’ for living" (p. 87). Demo tells us that Burke
indicates that the comic frame privileges audience by providing a unique vantage point from
which to see the inaccuracies of a situation and this potentially heightens the audience’s
consciousness (Burke 1937/1984 in Demo, 2000). So it can be said that the Guerilla Girls’
subversive activities, and specifically the creation and presentation of the satirical movie poster,
operate as sophisticated consciousness-raising tactics.
Analysis
Parody is effectively used in this artifact to make fun of the stereotypes that the movie
industry perpetuates. By exaggerating the callous lack of respect that women are shown through
the use of their bodies to sell products, in this case mainstream movies, and by demeaning their
larger contributions to society at large, the insidious nature of patriarchy in the entertainment
industry is lampooned. The strategies of incongruity used by the Guerilla Girls foreground the
very myths that seek to keep women in their place as muses, not creators of art and film, and as
objects, rather than agents of history. The Guerilla Girls mission since forming in 1985 has been
to fight sexism and racism by demonstrating the incongruity of conventional definitions of
femininity and feminist activism (Demo, 2000). The group embodies and presents an
exaggeration and playfulness with norms of femininity that connects femininity and feminism in


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