Female Vs Male Gaze

Wonder Woman Vs Justice League.

Abstract – 

In the essay, I will be discussing the difference the Male and Female gaze have on the representation of women in film. Touching on the importance of camera design, lighting, and camera angles in the production and representation of key female roles.  I watched each film and compared scenes from each introducing the same character played by the same actress, and how their character varied from each director’s viewpoint. I will be analysing the 2017 Wonder Woman directed by Patty Jenkins, and the 2017 Zack Snyder film Justice League. In Justice League, the male gaze was prominent, whereas the female director of Wonder Woman portrayed the same character in a different way showing how using the female gaze successfully creates a female superhero who shows power without being sexualised. Through the technical analysis of film posters and screen grabs from the films I can compare the manipulation of the mis-sen-scene to understand and potentially predict how the producers intended to target different demographics. In-depth research into the history and origins of the DC universe, both: Comic representation and cinematic representation enabled me to understand how these productors may have been influenced to develop conflicting characters. The ideologies of said producers are evident in their construction of female protagonists, in this case, Wonder Woman. 

Female Gaze Vs Male Gaze – Wonder Woman Vs Justice League. 

Introduction- 

In this essay, I will discuss the implications of the Male and Female gaze on the same character in different films. The character that I will be looking at is Wonder Woman, aka Diana, in a female-directed 2017 film by Patty Jenkins Called Wonder Woman and the male-directed Justice Leaguedirected by Zack Snyder also released in 2017 – here Wonder Woman is both played by Gal Gadot. This essay will cover the mise-en-scene of both films such as Wonder Woman’s costumes, and how lighting is used. Following on from this, I will discuss and compare how the male characters view Wonder Woman and how this might vary between films. I will also touch on how Wonder Woman has been sexualized throughout the media since she was created. 

Theorists – 

In this essay, I will be drawing from the works of Laura Mulvey “Visual Pleasure and Narrative Cinema” to critically analyse the use of the Female gaze vs the male gaze in two films released in 2017. Mulvey’s theory “Visual Pleasure and Narrative Cinema” released in 1975, explains her beliefs that women in classical Hollywood films are ‘passive’ subjects for the males as they have an ‘active’ view, implying that the female characters, we see in films, are only there for the Males benefit. Mulvey explains the male position with ‘active’ and the female ‘passive’. Mulvey argues that in films, women are described ‘as image, man as bearer of the look’ this creates the argument that women are only meant to be looked at in the films and not there for the main role. She argues that when watching these films, the viewer can tell who the film is made for and who the camera follows. In this theory, Mulvey does not believe any classical Hollywood film could be anything other than made for the male desire and created for the male gaze.

Edward Snow’s theory ‘Theorising the male gaze: some Problems’ explains that the male gaze and the problems that ” females can only function for the male-only as an object is sadist spectatorial possession’. The male gaze can be described as ‘A manner of treating women’s bodies as objects to be surveyed’ which is associated by ‘feminists with hegemonic masculinity’ in everyday interactions as well as how it is represented in media. (Oxford References, 2024) The male spectator cinema is conventrally the subject of the gaze, they are the ones creating and shaping the action. Mulvey describes the male gaze as the audience goes back and forth between ‘two forms of looking at the female image’. (Oxford References, 2024) The film’s spectators are voyeuristic, as they are the ones controlling the gaze as well as fetish-looking, obsessively focused on the erotic detail. This reflects the values and tastes of the patriarchal society.

In this Theory, Mulvey also explains the patriarchal society in narrative cinema and classical Hollywood; here she explains that ‘Psychoanalytic theory is thus appropriate here as a political weapon, demonstrating the way the unconscious of patriarchal society has structured film form’. The patriarchal society is created for middle-aged, middle-class white men, so this is what the Male gaze targets. She also explains that ‘to summarise briefly, the function of women in forming the patriarchal unconscious is twofold, she first symbolises the castration threat by her real absence of penis and second thereby raises her children into the symbolic.’ This implies that as the woman lacked a penis,  the man had to be the one who took it away from her, she is shown as the ‘passive’ whilst the man is shown as the ‘active’ – as they were the ones who put the women in the position she is in. 

Mulvey’s theory also suggests the objectification of women for male desire is consistently exhibited throughout Films created for the male gaze. Mulvey explains that women, as exhibitionists, become objects for men to look at. An exhibitionist is someone who takes pleasure in being looked at. They present themselves to the gaze, which could be interpreted as taboo – if not received by the target demographic. As the viewer can be a voyeur, this movie creates the feeling that we, the viewers, are secretly staring at the woman without her knowledge, giving us the sense that she is the object of our desire. Once the audience is looking, we see her as a sexual object. Being a voyeur and sexualizing this female character, whom we do not even have a name, implies to the audience that she is only there to be stared at and sexualized; that is her only purpose. The sexualization stems from the protagonist’s choices.

The female gaze can be described as ‘neglected territory’ women adopt the ‘active’ view which Mulvey’s theory suggests is the ‘bearer of the look’ and objectify the gaze which ‘traditionally and stereotypically have been associated with males’. This undermines the dominant cultural alignment of masculinity with activity and femininity’ as ‘the object of the gaze need not to be confined to males.’ (Oxford References,2024). The female gaze can also be described as how women view other females, men, and the world in general. This ‘bearer of the look’ may be related to ‘identification, objectification, subjectivity and performance and construction of gendered gaze’. (Oxford References,2024) 

Another Theory I will be drawing on is Roland Barthes 1964 ‘The Rhetoric of the Image’. I will use this theory to compare and contrast each poster they used to advertise the films. Within Barthes theory, he devises key concepts to interpret messages contained in advertisement images. Barthes has Three concepts in this Essay which will be explored in the essay. The first concept is the ‘linguistic message’, Barthes explains that the ‘linguistic message’ is there so the audience can interpret the message for the advertisement image. Barthes argues that the linguistic message is presented in any image. This concept explains that the text shown as a title or a caption implies to the audience what they are looking at, even before the picture. 

The second concept is ‘coded messages’ which are a key concept, this is explained as it implies to the target audience what they are looking at, giving them things to think about. For example what colours are used and what they connote too. 

The final key concept of Barthes theory is the ‘decoding’ of the message. As Barthes describes ‘we never encounter a literal image in its pure state’, this explains that without finding connotations to the image and what it is supposed to mean or say, just how it looks and what is in the images is meant to tell you enough, for example, what are the advertising and the product. 

The history of DC comics – 

Before three companies merged to create DC Comics in 1946, All American publications created the All-Star Comics which was mainly famous for featuring the Justice Society of America (JSA). This was the first superhero team. The JSA first debuted in December 1940, a year later Wonder Woman made her first appearance in the All-Star Comic No. 8 in the JSA. Every other member of the JSA was a male character before Wonder Woman joined; she was the team’s secretary. Diana was the first Female Member of the team but didn’t come without consequences, she was known as the honorary member. She was the token woman. Here she becomes the JSA’s secretary despite her expansive power. 

In the eighth issue of the All-Star Comics in January 1942 star introduced Wonder Woman in a solo adventure – The Sensation comic – which was disconnected from the JSA storyline. From this point on Wonder Woman quickly became one of the most famous female superheroes of all time. All American Publications was an American comic book company that was founded in 1938. All American merged with national comics and independent news to form National Prodigal Publications which eventually became DC comics in 1946. Wonder Woman First appeared in All-Star Comics No.8 in December 1941. Wonder Woman’s next appearance where she was first featured in the sensation comic #1 in January 1942, here Wonder Woman was the lead in the comic.

Wonder Woman is an Amazon warrior princess and one of the most powerful superheroes. Diana of Themyscira was given her power by the gods of Olympus to fight against evil in all forms. Although Diana was raised by women on the island of Themyscira, she was sent as an ambassador to the man’s world, spreading her idealistic message of strength and love. She fights crime and acts as a positive role model for women everywhere. Wonder Woman and Justice League came out in the same year, introducing the same character into the DC franchise. In Wonder Woman directed by Patty Jenkins, the film could be debated that it is created for the female gaze. The word debated is used as the female gaze can also be debated to be a real thing used in film. This can be implied in Laura Mulvay’s “Visual Pleasure and Narrative Cinema” as she suggests “mainstream film satisfies especially the male spectator by projecting his desires on the screen.” (p 4). Whereas the Justice League can be implied to be created for the male gaze. It is also debated that the male characters throughout the film have the ‘active’ view whereas the female characters are the ‘passive’. 

Review of Wonder Woman Advertisement – 

The difference between male-directed and female-directed action movies can be distinguished differently from each advertisement campaign and how the female characters are portrayed in the images.

For the advertisement posters of the 2017 Patty Jenkins ‘Wonder Woman’ they suggest to the audience that the promotion image reflects the films ideologies and prominent characters.  The colour scheme of every poster though different images has an orange contact, with a blue sky, this mimics her armoured outfit. Though her legs are on show her thighs are shown as muscular and strong, implying she is a warrior. Her costume mimics her original look from ‘Wonder Woman All-Star Comics No.8’ which was released in December 1941. Her outfit now looks more like armour – here suggests that she is a warrior and not just in the spotlight to be the token woman anymore. In the posters, Wonder Woman is shown as a warrior, and her showing strength and courage is important, to show the audience what to expect from the movie – an image of Wonder women lifting a tank effortlessly, suggests femininity, this is as she is doing it with her strength but doesn’t look strained – looking off showing her elegant facial features, whilst holding a war machine. This image is important as it is a screen grab from an iconic part of the film. In this scene, we are shown how Diana’s emotions could have changed how she fights. In this scene, Wonder Woman lifts a tank over her head, and the expression on her face is anger, and grief. Here, nearly killing one of her enemies and throughout the movie, Wonder Woman uses her strength to save people not put them in danger. But at this moment in time, her emotions get the better of her, this creating this powerful image of her nearly changing her ways. This is also shown in another poster where Wonder Woman is kneeling with her sword and shield, creating the scene where she is going into battle. In a poster, Wonder Woman and the other main characters are also shown. Here are Other Amazonian warriors, and Wonder Woman’s love interest. Having the male love interest behind Wonder Woman implies that though he is the main male character of the movie – he is the background character in the story, as Wonder Woman, who is front and centre of the poster is the main character – though their love story is in the film it isn’t ‘Wonder Woman’s’ story. 

Review of Justice League Advertisement – 

The advertisement for the 2017 Zack Snyders Justice League, the images of the 6 main characters of the film and a scene – where we see, Batman, played by Ben Affleck, Superman played by Henry Cavil, Aquaman played by Jason Momoa, Cyborg played by Ray Fisher, The Flash played by Ezra Miller and Wonder Woman played by Gal Gadot. Already with this poster we see how male-heavy the film is, by having a ratio of 5:1 men to women. The use of the black background creates a border around the heroes, highlighting them. Each character’s costume gives off a vibrant colour which stands out with the black background. Using Barthes ‘linguistic’ message on the poster, the copy saying ‘You can’t save the world alone’ in the middle of the poster, with each character bordering it. Each character’s logo can be seen in each word. For example the word ‘you’ is the Flashes logo, the Cyborgs logo in ‘cant’, Supersmans in the ‘save’, ‘the’ Batmans logo, Wonder Woman in ‘world’, and Aquamans in ‘alone’. Having the logos in the poster gives the audience a visual and ‘linguistic message’ implying that each of these characters is together in the film. This is also shown as the DC logo at the bottom of the poster showing to the audience that the characters from the Justice League comics are coming together into a film. Then followed with the title Justice League, again assuring the audience of the name of the team that’s going to ‘save the world’. .

In the advertisement poster where it is promoting Wonder Woman’s character in the film. We see Wonder Woman standing sideways with the camera looking up at her, suggesting power as she is higher up looking down at the camera. With the low angle, her upper thigh is on show where the viewer can see up her costume. In the background, the Wonder Woman logo can be seen behind her, with a cloudy sky. The clouds are orange and with a blue sky; linking in and mimicking Wonder Woman’s costume. The costume mimics Wonder Woman’s original costume from the comics, keeping to the colours, blue, yellow/gold, and red. Yet the costume accentuates her breasts making them exaggerated by using the lighting to make them look fuller and more prominent. By exaggerating the lighting to enhance Wonder Woman’s breasts, links to Mulvey’s theory of ‘to be looked at ness’ making the audience ‘Voyeurs’ by highlighting the shape of her breasts. Posing with her weapons in which Wonder Woman Displays the whip is suggestive of the BDSM community, here creating Wonder Woman as a target of the Male gaze for the viewer to fetishize her, displaying her for the ‘passive view’. 

Review of Wonder Woman 2017 – 

‘Wonder Woman is no ordinary superhero: She’s the missing link in a chain of events that begins with the women’s suffrage campaigns of the 1910s and ends with the troubled place of feminism fully a century later. Feminism made Wonder Woman. And then Wonder Woman remade feminism, which hasn’t been altogether good for feminism…Wonder Woman began in a protest march, a bedroom, and a birth control clinic…Wonder Woman has been fighting for women’s rights for a very long time, battles hard fought but never won. This is the story of her origins—the stuff of wonders, and lies.’ (Lepore) Throughout the Patty Jenkins-directed film Wonder Woman, it is implied that it is made for the female gaze, due to how female empowering the film is. Throughout that film, Wonder Woman’s character wasn’t sexualised once – ‘not a single butt shot of Gal Gadot’ and ‘You’d be hard-pressed to find a cleavage shot throughout Wonder Woman’. (Sunderraman S, 2017) She is shown and introduced as the warrior princess who is there to save the world. The film highlights how compassionate Wonder Woman is and her abilities, mirroring how ‘The female gaze held the woman to the standards to which she holds herself’. (Sunderraman S, 2017) Wonder Woman introduced the Amazons, who are ‘a race of ancient female warriors who fought against mythical evil forces. An entire race of fierce, beautiful women on the remote island’ of Themyscira. (Sunderraman S, 2017) In DC lore, the Amazonian women were developed by Zeus to influence men with love and create peace during a war between the gods. The Amazons in Jenkins’s film are not sexualized or submissive, they are warriors and shown as women of all trades. Showing the Amazonains 18 different camera shots showing their armour and their skill sets. The Amazonian women are the role models Wonder Woman grew up with and, ‘To her, the only child on the island, this is the norm for what warriors look like racially diverse, agile and precise, lethally strong—and female. Some of the Amazons are young, and many more look over 40. Some are muscular, others more slight. They trade blows with spectacular, staggering power, all in spirited camaraderie. Diana sees herself in them. She wants to be just like them. They are, well, her superheroes’ (Leon). The Amazon’s costumes were made to ‘befit the functionality of the warriors’ they were designed by Lindy Hemmings. Her armour is there to allow her to move and be able to fight the way she was trained to. She is muscular, showing her strong thighs that are highlighted in her costume.  Their outfits are covered in tough armour and skin showing is for their benefit of whilst moving and ‘to grant them full and swift movement’. (Sunderraman S, 2017) Though Wonder Woman’s costume doesn’t cover her whole body ‘this isn’t objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act’. (Williams) Wonder Woman has been adapted and has various depictions throughout the media since she was introduced in 1940 in Sensational comics. Patty Jenkins is the first female director to show her depiction of Wonder Woman ‘finally fearlessly [giving] her a feminist voice’. Wonder Woman has historically been a victim of the male gaze so Jenkins believed the Film should ‘emphasize Wonder Woman’s values, warmth, sense of humor, strength’. Her character is compassionate, and respectful and embodies women’s rights ‘proving the accuracy of this feminist version’. Wonder Woman “wasn’t meant to be a superwoman; she was meant to be an everywoman” (Lepore, p.220). The introduction of the love interest is a role reversal of the traditional male gaze view in films. Here we meet Steve who is a spy in British intelligence – this is where we first are aware of the period in which the film is based – the first quarter of the twentieth century World War One. Diana saves Steve from drowning after his plane crashes into Themyscira. In the scene where Diana is saving Steve, the camera focuses on the action of her rescuing him and not her body whilst doing so. It focuses on her compassion and strength rather than relying on the use of gratuitous shots of the female form. Highlighting the depths of character rather than just her beauty. In the bathing scene where after Steve is saved he bathes and then gets patched up, Diana walks in to see if he is ok. Here is the first time Diana is introduced to a male physique – Diana does focus on his figure, but not in a sexualized way, as she was more intrigued as her curiosity is piqued. Having a fully naked male character instead of a female character, flips the narrative for the Male gaze, by also having Steves’s character jokingly saying how he isn’t a “typical example of his sex.” that he is “above average” implying to the viewer that they can fetishize his character, by implying a sexual joke. In a scene where Diana is surrounded by male soldiers, she is preparing to go into battle, here she takes down her hair and takes off her coat to reveal her armour underneath. The men in the frame gaze not in lust but for her leadership and strength in admiration, they are there to look up to her as a warrior and not as a sexual object. This once again illustrates how the film flips the male gaze, as it breaks the mould. Women are usually the subjects of the male gaze, supporting:  “With women as the image to be gazed upon and the man as an active subject who engages in the act of looking” (Harvey 68). Once Wonder Woman leads the soldiers into a battle she “emerges from the trenches, an independent subject rather than a sexualized object” (Morris 84). In Wonder Woman’s fight scene, she doesn’t use her weapons to kill other soldiers, she uses her strength and ability to smash machine guns and push fellow and enemy soldiers to safety. Focusing on prevention and defence , rather than creating death and destruction. This links back to how and why the Amazons were created, by helping men remember love and peace throughout war.  As “She is not using her body to please a male character, she is using her body to save others on her terms” (Morris 84). Slow motion is used to emphasise the strength of movement in how Wonder Woman deflects bullets from her armour. 

Review of Justice League –

Zack Snyder’s Justice League is created for the male gaze, here creating Wonder Woman’s character sexualized and as ‘passive’, she is included for the male characters to look at and fetishize. In Wonder Woman’s entry scene, the scene features a long shot of just Wonder Woman’s thighs. Doing this links to Mulvey’s ‘voyeur’ as this movie creates the feeling that we, the viewers, are secretly staring at Wonder Woman without her knowledge, giving us the sense that she is the object of our desire. The audience can fetishize Wonder Woman in her opening scene – suggesting to the viewer that she is the ‘passive’ viewer and we the audience are allowed to be the ‘active’ by sexualizing her. In the bank robbery scene in the movie there is a blatant mid/close up shot of just Wonder Woman’s bum whilst she’s sliding on the floor to dodge a bullet. Wonder Woman’s multiple cleavage shots whilst fighting are also irrelevant to the plot and fights other than her being a ‘passive’ female character. The introduction of Wonder Woman to the Justice League involved Wonder Woman stopping a terrorist attack. In the scene she is looking to protect hostages, which are predominantly female and children, throughout the scene, we focus on an adult woman hugging and protecting two younger girls. Though is portrayed in the scene as visually a string-dominant force, her costume is significantly shorter, here exposing her undergarments. In some scenes where a low-angle shot looking up at Wonder Woman is used to see under her skirt. Slow Motion was used to highlight Wonder Woman’s beauty while flicking her hair. However, due to the combat scene, the pace of the film feels increased, implying her beauty is ‘to be looked at’ where her fighting prowess is less significant to the ‘active’ viewer. Wonder Woman is an aggressor in this scene resulting in the death and injury of the terrorist she is fighting, this contradicts the intention of Zeus as he made the Amazonians bring love and peace to men during war. Wonder Woman is a ‘passive’ character and being ‘looked at’ is also implied whenever she isn’t wearing her armour in a scene. Every item of clothing Wonder Woman is wearing has a plunging neckline, that way her cleavage is always in focus. Their armour enhances and makes the Amazonian’s breasts look fuller, like Wonder Woman’s armour their undergarments are showing clearly. The guards of the main door are wearing outfits reminiscent of S and M bondage apparel; metal pieces just covering their breasts and minimal coverage around the bottom exposing the midriff. The enemy in the scene is male, with long shots implying he is much more muscular and taller compared to the female warriors. The warriors are over-sexuality whilst the characters ride the horses, here wearing outfits with the midriff exposed. Also, diegetic load, and exaggerated moaning can also be heard. The enemy saying at the end of the scene “You will love me…You all will”, whilst looking at the hundreds of female warriors riding horses toward him to try and defeat him, suggests he is a narcissist, yet he believes that they will ‘love him’ after he kills hundreds of them, suggesting that he is also a manipulator – this viewpoint potentially stems from harmful patriarchal beliefs, as men have historically manipulated and controlled women. When the Amazonians are introduced in the scene, they are fighting alongside the male ancient Atlantians, the male characters are dressed in costumes that are aimed to be functional whilst fighting. Their outfits make the warrior men look like heroes. This isn’t the same for the Amazonian female warriors.  The costume designer for Wonder Woman in Justice League was a man called Micheal Wilkinson. He created both Wonder Woman and the Amazonian costumes to highlight the shape of the character’s breasts and show their midriffs, by putting them in leather outfits. These outfits are not functional for fighting, suggesting that their outfits and characters are for the ‘male gaze’ and just for the ‘passive’ view of the male ‘active’ viewer. 

Conclusion – 

In conclusion, though it could be debated that some of the shots from Justice League of the female protagonist could suggest their power, it doesn’t take away from the inherent gaze that is implied. Throughout the film, the female characters are ‘fetishized’ . This is demonstrated by the type of costumes that the characters are wearing or how they act. 

Patty Jenkins’ Wonder Woman depicts the character much differently as both male and female characters are viewed as warriors equally, or debatingly the female warriors are stronger. They are showcasing the positive feminist view and female gaze present in the film. Wonder Woman is created to show how the female gaze is needed to show how women’s standards for female representations within the industry should be held high, not diminished by male producers and costume designers. The movie doesn’t show sexualized women who can also fight what Snyders’s depiction creates, the film shows Diana’s ability to show compassion and strength. 

Bibliography- 

Harvey, Alison. Feminist Media Studies. Cambridge, United Kingdom, Polity Press, 2020. 

Sunderraman, s 2017 How Justice League panders to male gaze with overt sexualisation of Wonder Woman

Leon, Melissa. ‘Wonder Woman’ Is the Feminist Hero We’ve Been Waiting For. Review of Wonder Woman, directed by Patty Jenkins. The Daily Beast, 2 June 2017. https://www.thedailybeast.com/why-wonder-woman-is-the-feminist-hero-we-need-now 

Lepore, Jill. The Secret History of Wonder Woman. New York, Vintage Books, 2014.  

male gaze. Oxford Reference. Retrieved 23 Jan. 2024, from https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100128610. 

Mulvey, L., 2013. Visual pleasure and narrative cinema. In Feminism and film theory (pp. 57-68). Routledge. https://www.taylorfrancis.com/chapters/edit/10.4324/9780203699362-5/visual-pleasure-narrative-cinema-laura-mulvey 

Barthes, R., 1999. Rhetoric of the Image. Visual culture: The reader, pp.33-40. https://books.google.co.uk/books?hl=en&lr=&id=1Oabgpg7LcAC&oi=fnd&pg=PA135&dq=roland+barthes+rhetoric+of+the+image&ots=skKGEyOCWT&sig=dJBpcD1Jr1rWM3gZClOPKpCn7dA&redir_esc=y#v=onepage&q=roland%20barthes%20rhetoric%20of%20the%20image&f=false 

Snow, E., 1989. Theorizing the male gaze: Some problems. Representations, (25), pp.30-41.https://www.jstor.org/stable/2928465 

Morris, Hanann. “Wonder Woman’s Fight for Autonomy: How Patty Jenkins Did What No Man Could,” Criterion: A Journal of Literary Criticism, vol. 11, Fall 2018. Article 12. 

Williams, Zoe. Why Wonder Woman is a Masterpiece of Subversive Feminism, Review of 36 Wonder Woman, directed by Patty Jenkins. The Guardian, 5 June 2017. https://www.theguardian.com/lifeandstyle/2017/jun/05/why-wonder-woman-is-amasterpiece-of-subversive-feminism 

Images used – 

Wonder woman- https://www.google.com/url?sa=i&url=https%3A%2F%2Fartofthemovies.co.uk%2Fproducts%2Fwonder-woman-2017-adv-c-ds-os-01&psig=AOvVaw3qngrQ9IZ0oqV6MGlHB-VG&ust=1706267133139000&source=images&cd=vfe&opi=89978449&ved=0CBMQjRxqFwoTCLifrcWy-IMDFQAAAAAdAAAAABA7 

Wonder woman poster tank – 

https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.ebay.co.uk%2Fitm%2F384466777938&psig=AOvVaw3qngrQ9IZ0oqV6MGlHB-VG&ust=1706267133139000&source=images&cd=vfe&opi=89978449&ved=0CBMQjRxqFwoTCLifrcWy-IMDFQAAAAAdAAAAABAl 

Wonder woman with characters- https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.ebay.co.uk%2Fitm%2F172696189791&psig=AOvVaw3qngrQ9IZ0oqV6MGlHB-VG&ust=1706267133139000&source=images&cd=vfe&opi=89978449&ved=0CBMQjRxqFwoTCLifrcWy-IMDFQAAAAAdAAAAABAt 

Justices league poster – https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.imdb.com%2Ftitle%2Ftt0974015%2F&psig=AOvVaw2MTjYCqCd2-GI7Igs2nS9C&ust=1706263986267000&source=images&cd=vfe&opi=89978449&ved=0CBMQjRxqFwoTCNir4Oim-IMDFQAAAAAdAAAAABBC 

Justice League poster Just Wonder Woman – 

Filmography-  

Wonder Woman 2017 Patty Jenkins 

Justice League 2017 Zack Snyder