Burns and Alice Paul took advantage of new print technology allowing the easy reproduction of photographs in newspapers, along with “modernized campaigns by designing spectacles that would attract professional press photographers who sold their pictures to newspapers and the public” (160). Their militance and their protests won them increased attention but clashed with the NAWSA’s goal of portraying suffragists as “refined, white, and moral mothers” (161). The NWP and the NAWSA both freely emphasized the whiteness of their activists, however. Lange’s analysis of suffragists’ visual campaigns shows the difficulty in changing the nation’s opinion about women in public and highlights the many fissures that further confronted the lived experiences and political ambitions of Black women. The visual strategies developed by suffragists, however limited, nevertheless challenged the masculine world of visual representation. And, as Lange argues, twenty-first century graphical representations of women continue to draw upon the precedents the suffragists set in their campaign for the vote.

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镀金时代的美国人和内战的消费 - James Marten 和 Caroline E. Janney 编辑，在镀金时代的美国买卖内战记忆。雅典：乔治亚大学出版社，2021 年。286 页。36.95 美元（纸质），ISBN 9-780-8203-5965-6。

伯恩斯和爱丽丝保罗利用了新的印刷技术，可以轻松地在报纸上复制照片，以及“通过设计吸引专业新闻摄影师向报纸和公众出售照片的眼镜的现代化活动”（160）。他们的好战和抗议为他们赢得了更多的关注，但与 NAWSA 将选举权主义者描绘为“优雅、白人和道德母亲”的目标相冲突（161）。然而，NWP 和 NAWSA 都自由地强调了他们的活动家的白人身份。兰格对女权主义者的视觉运动的分析表明，在公共场合改变国家对女性的看法是困难的，并强调了进一步面对黑人女性的生活经历和政治抱负的许多裂痕。女权主义者开发的视觉策略，无论多么有限，然而，它挑战了视觉表现的男性世界。而且，正如兰格所言，21 世纪女性的图形表示继续借鉴女权主义者在竞选活动中设定的先例。