How women’s martial arts imagery challenged stereotypes in British television, film and advertising

The late 1950s and 1960s marked a period of cultural change in Britain, with a gradual shift from black-and-white to colour television coinciding with the launch of commercial television in 1955.  

These technological and commercial advances shaped how women appeared in media, reinforcing gendered stereotypes, while slowly also introducing new forms of representation.

A trawl through the History of Advertising Trust – the world’s largest archive based in the UK – shows women being depicted in traditional roles as housewives in classic 1950s advertising for household products such as washing powders, yet by the 1960s, another strand emerged: depictions of female empowerment and rebellion, supported by newly popular portrayals of women practising martial arts.  

These depictions were heavily influenced by television and film, including Diana Rigg’s stint promoting a range of “Emmapeelers” (the iconic catsuits worn by the character Emma Peel, played by Rigg, in The Avengers). During this period, women increasingly appeared on screen as bona fide Judokas and, latterly, Karatekas (practitioners of Judo and Karate).  

I originally designed my doctoral research to explore the popularity of martial arts themes or imagery on British television and in print advertising from the 1960s to the 1990s. The study focused on racialised constructions in commercials, as martial arts tropes provide clues into how authenticity is conveyed through a range of martial arts aesthetics such as fight choreography and the casting of bona fide martial artists as opposed to actors or models. As a martial artist myself, the question of authenticity in the way the techniques were demonstrated and who was shown performing these was the starting point of my curiosity in this topic.  

The 1970s, known for transformative conversations about race, immigration, and sexual liberation, also saw challenges to deep-seated stereotypes of women. It was during this phase of my research that I discovered stunt woman, Chris Gallie (stage name Cyd Child), in The Avengers TV series, who blew me away. Here was an actual Judoka, not just an actress simulating combat, who played a key role in how female martial artists were depicted on screen. Her work mirrored broader cultural shifts linked to the sexual revolution and growing expressions of female empowerment at the time. 

Martial arts commercials from the 1970s onwards largely featured men (Golden Wonder’s Kung Fuey 1975-76, Wrigley’s Tunes 1972, Mars Bar’s Judo 1972). However, television series such as The Avengers (1961-1969) and The New Avengers (1976-1977), and films such as The Wrecking Crew (1968) featured strong female characters, paving the way for a different form of representation that reflected the changing roles of women.  

Characters such as Purdey (played by actress Joanna Lumley) and Mrs Peel (Diana Rigg) used their martial arts prowess to challenge assumptions about women’s physical capabilities and cultural roles.

Edwina Carroll, 1967 advert (History of Advertising Trust)

In advertising, the BMK Judo Girl television and print campaign (1967-1969) cast actress Edwina Carroll with her Judo skills carefully choreographed against a male assailant. This contrasted sharply with the infamous Hai Karate television commercials of the 1970s that featured a stereotypical ‘wimp’ being pursued by attractive females such as Valerie Leon and having to resort to his Hai Karate skills to defend himself, with the tagline ‘be careful how you use it’. 

Storyboard of stills from the Hai Karate Cologne Commercial (History of Advertising Trust)

My study found that there were distinct periods in television and media coverage from the 1960s to 1970s that were shaped by influential series such as The Saint (1962-69, ITV) and The Avengers (1961-1969, ITV) where actress Diana Rigg – a black belt in Judo - played the role of Emma Peel in the latter. Judo was the most popular martial art in the 1960s, before Karate’s popularity took hold in the 1970s; It was associated not only with athleticism, but with beauty, fashion and glamour too. Rigg, for example, fronted advertising campaigns for Emmapeelers, photographed by celebrity photographer Terry O’Neil. These colourful jumpsuits were more comfortable and practical - a move away from the leather catsuits that Emma Peel’s predecessor, Dr Cathy Gale, wore in The Avengers from 1962 to 1964. 

These trends form part of a wider discussion about martial arts aesthetics in British advertising. Female stunt performers and martial artists were central to debates about authentic representation during this early period. For example, the BMK Judo Girl campaign (1967-1969) stands out for its casting choices, selecting Anglo-Irish Burmese-born actress Edwina Carroll. Casting a female martial artist of Asian heritage defied prevailing norms of Western appropriation and avoided the use of “yellowface” (the casting of non-Asian performers to portray Asian characters using stereotyped makeup or mannerisms). Her character’s Judo prowess (actually performed by a stunt actor) offered a rare and credible portrayal of martial arts ability in commercial media.  

By exploring historical portrayals of gender and race in media, we can better understand how these visual narratives continue to shape our perceptions today and develop a more critical awareness of what we see in modern advertising and popular culture.  

Dr Sally Chan would like to thank the archivists who have helped her over the years - Alistair Moir (Deputy Director at the History of Advertising Trust) and Steve Foxon (Curator at the British Film Institute National Archive).

She would also like to dedicate this article to Denis Casey Sensei, 9th Dan Hanshi, Yamada-ha Shito-ryu Shukokai Karatedo Union and Altrincham Karate Academy’s Chief Instructor.