Around the turn of the twentieth century, U.S. newspapers began to address women specifically in separate sections, hoping to gather a female audience for advertisers. Scholarship on early twentieth-century women consumers tends to emphasize possibility and self-expression. Women’s reactions to the first women’s pages, by contrast, indicate that they could feel constrained and condescended to when welcomed into the public sphere on the basis of being consumers. Readers and journalists aired their grievances about the women’s page in its first decades, and sometimes found ways to use the page to their own ends. But publishers carried on designing women’s features with advertisers in mind. By the 1920s, the women’s page had become visually seductive, didactic, domestic, and relentlessly consumerist. This article uses the women’s page to investigate the rise of ad-subsidized media in the twentieth century and to weigh up the opportunities and costs of this media system.

This article examines the role played by comic books in justifying the Korean War to adolescent readers in the United States. Specifically, it argues that romance comics—perhaps the most widely read youth publications of the early 1950s—helped to prepare teenaged girls for the trials and tribulations that an emerging Cold War would entail. Love-themed comic books dealt with issues like dating and marriage at a time of mass mobilization and international political emergency, and in doing so, attempted to redefine the meaning of courtship and sexual maturity during a new era of permanent national security crisis. By studying this enormously influential literary genre, we gain important insight into both the popular cultural dimension of a “forgotten war,” as well as a richer appreciation of the ways in which girls have been asked to make their own sacrifices on the altar of American military preparedness.