William Moulton Marston Quotes

If children will read comics [...] isn't it advisable to give them some constructive comics to read? [...] The wish to be super strong is a healthy wish, a vital compelling, power-producing desire. The more the Superman-Wonder Woman picture stories build this innner compulsion by stimulating the child's natural longing to battle and overcome obstacles, particularly evil ones, the better the better chance your child has for self-advancement in the world. Certainly there can be no argument about the advisability of strengthening the fundamental human desire, too often buried beneath stultifying divertisments and disguises, to see good overcome evil.

Women now fly heavy planes successfully; they help build planes, do mechanics' work. In England they've taken over a large share of all material labor in fields and factories; they've taken over police and home defence duties. In China a corps of 300,000 women under the supreme command of Madame Chiang Kai-shek perform the dangerous function of saving lives and repairing damage after Japanese air raids. This huge female strong- arm squad is officered efficiently by 3,000 women. Here in this country we've started a Women's Auxilary Army and Navy Corps that will do everything men soldiers and sailors do except the actual fighting. Prior to the First World War nobody believed that women could perform these feats of physical strength. But they're performing them now and thinking nothing of it. In this far worse: war, women will develop still greater female power; by the end of the war that traditional description the weaker sex" will be a joke-it will cease to have any meaning.

The task of depicting character in the sound picture is, in one sense, far easier than in the silent picture. The latter, being essentially pantomime clarified with titles, is cruelly restricted as a medium of depicting human nature. Few of us express ourselves in postures and gestures. Our natural manner finds itself freer and surer in spoken words and, most of all, in decisive acts involving such forms of language as promises, commands, prohibitions, and so on, all of which readily lends itself to reproduction in talk and scene combined. To this extent, character drawing in sound pictures seems to offer pretty much the same opportunities and difficulties as in the drama of the Broadway stage. But a closer study brings out the somewhat startling fact that a sound picture, skillfully handled, can reveal more of a personality than any other device of art or science. The actor on the stage can talk, gesticulate, and move to and fro; but there his powers end. The actor of the talking screen can do all of these things and then carry on his subjective life in the presence of the spectators. We can show pictorially his memories, his fears, his hopes, and his cunning schemes. We can reveal his clenched fist in a close-up. We can show the beads of perspiration on his brow, as he trembles with suppressed rage.

The next 100 years will see the beginning of an American matriarchy—a nation of amazons in the psychological rather than the physical sense. In 500 years there will be a serious sex battle. And in 1000 years women will definitely rule this country.

Comics, they say, are not literature – adventure strips lack artistic form, mental substance, and emotional appeal to any but the most moronic of minds. Can it be that 100,000,000 Americans are morons? Possibly so; but there seems to be a simpler explanation. Nine humans out of ten react first with their feelings rather than with their minds; the more primitive the emotion stimulated, the stronger the reaction. Comics play a trite but lusty tune on the C natural keys of human nature. They rouse the most primitive, but also the most powerful, reverberations in the noisy cranial sound-box of consciousness, drowning out more subtle symphonies. Comics scorn finesse, thereby incurring the wrath of linguistic adepts.

People go to moving pictures to be made to weep or laugh, to be happy or unhappy as they watch what hap pens to the screen characters before them. They become completely absorbed in the screen action. They follow the story, willy-nilly. And in so doing, they are forced to feel the emotion/ aroused by the dramatic situations.Pictures makes millions of people, day after day, feel glad or sad, courageous or fearful, righteous or angry. He, can do this, that is to say, within limits, and these limits largely depend upon the story of the picture. If the producer has a powerful enough story, these millions for get themselves and their little joys and woes and escape into the scenes on the screen before them. Small wonder then, that, with such stupendous power over the thinking and feeling of myriads of men, women, and children, the moving picture producer is willing, even eager, to spend hundreds of thousands of dollars — or even a cool mil lion or so — to secure and produce a picture for this world of movie-goers. But the story selected must itself have power enough to arouse the emotions of an audience. Excellent photography and good acting can help to carry successfully any story, but they can never put emotional meaning into a story that is built without emotional appeal.

The literary story is hard enough, heaven knows. It calls for a thorough understanding of the kinds of people you set out to depict. It cannot be of high quality unless the author can plot well. And, of course, it must be cast in distinctive style. The picture of the silent screen does not demand literary abilities, but it does require insight into character as well as drama; furthermore, it is founded upon a high order of visual imagination. The stage play, in a certain sense, calls for all the chief abilities of literary stories and silent pictures; and, in addition, it must be managed with dialogue, which is some thing very different from literary language. But the sound picture goes beyond all of these other art forms. To invent a good one, you must grasp character, drama, settings, and dialogue. But you must go beyond these. You need a fanciful ear. The backgrounds of your story now cry out. The tale is filled with noises. And every least sound adds a unique quality to the total effect.

The creation of children is not justifiable in a majority of unions between the sexes; but when the creation responses are justifiably undertaken, there is sound psychological ground for advising the woman to provide, beforehand, sufficient funds of her own to carry both herself and the child through the period of her physical incapacity for appetitive work. There is sound psychological ground, also, for requiring the male to share equally at least, in the home work and the care of children.

The social value of freeing women from a harem-enclosed existence to a life of activity can be questioned only by those advocates of a "man's world" who wish to perpetuate its butchers and savage jungle law.

The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity.

Oh yes, but not until women control men. Wonder Woman – and the trend toward male acceptance of female love power, which she represents, indicates that the first psychological step has actually been taken. Boys young and old satisfy their wish thoughts by reading comics. If they go crazy for Wonder Woman it means they're longing for a beautiful exciting girl who's stronger than they are. These simple, highly imaginative picture stories satisfy longings that ordinary daily life thwarts and denies. Superman and the army of male comics characters who resemble him satisfy the simple desire to be stronger and more powerful than anybody else. Wonder Woman satisfies the subconscious, elaboratedly disguised desire of males to be mastered by a woman who loves them.

A woman character without allure would be like a Superman without muscle.

Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made.

If, as psychologists, we follow the analogy of the other biological sciences, we must expect to find normalcy synonymous with maximal efficiency of function. Survival of the fittest means survival of those members of a species whose organisms most successfully resist the encroachments of environmental antagonists, and continue to function with the greatest internal harmony. In the field of emotions, then, why would we alter this expectation? Why should we seek the spectacularly disharmonious emotions, the feelings that reveal a crushing of ourselves by environment, and consider these affective responses as our normal emotions? If a jungle beast is torn and wounded during the course of an ultimately victorious battle, it would be a spurious logic indeed that attributed its victory to its wounds. If a human being be emotionally torn and mentally disorganized by fear or rage during a business battle from which, ultimately, he emerges victorious, it seems equally nonsensical to ascribe his conquering strength to those emotions symptomatic of his temporary weakness and defeat. Victory comes in proportion as fear is banished. Perhaps the battle may be won with some fear still handicapping the victor, but that only means that the winner's maximal strength was not required.

In the majority of cases which are brought to me as a consulting psychologist for love and marital adjustment, there are self-deceptions to be uncovered as well as attempts to deceive other people. Beneath such love conflicts there is almost always a festering psychological core of dishonesty.