A giantess is a female giant. The word has at least three interpretations:
Grid was a giantess who saved Thor's life. She was aware of Loki's plans to get Thor killed at the hands of the giant Geirrod and sets out to help him by supplying him with a number of magical gifts. These gifts were: a girdle of might, a pair of magical iron gloves, and a magical wand.
The giantess Gerd was very beautiful and her brilliant, naked arms illuminated air and sea. Freyr fell in love at first sight and the account of her wooing is given in the poem Skirnismál. She never wanted to marry Freyr, and refused his proposals (delivered through Skirnir, his messenger) even after he brought her eleven golden apples and Draupnir. Skirnir finally threatened to use Freyr's sword to cover the earth in ice and she agreed to marry Freyr. She became the mother of the early Swedish king Fjölnir.
Skaði journeyed to Ásgard to avenge her father Þjazi, whom the gods had killed. She agreed that she would have that renounced if they allowed her to choose a husband among them and if they succeeded in making her laugh. The gods allowed her to choose a husband, but she had to choose him only from his feet; she choose Njord because his feet were so beautiful that she thought he was Baldr. Then Loki succeeded in making her laugh, so peace was made, and Odin made two stars from Þjazi's eyes.
After a while, she and her husband separated, because she loved the mountains (Þrymheimr), while he wanted to live near the sea (Noatun). The Ynglinga saga says that later she became wife of Odin, and had many sons by him.
Upon Frigg's entreaties, delivered through the messenger Hermod, Hel promised to release Baldr from the underworld if all objects alive and dead would weep for him. And all did, except a giantess, Thokk, who refused to mourn the slain god. And thus Baldr had to remain in the underworld, not to emerge until after Ragnarok, when he and his brother Hod would be reconciled and rule the new Earth together with Thor's sons.
A notable example of the depiction of giantesses in art and literature arose in the medieval period. In her book Scivias, St. Hildegard of Bingen (1098-1179) used the giantess as a representation of "Ecclesia", the Church as the Bride of Christ.
In contrast to this, A Voyage to Brobdingnag, the second part of Jonathan Swift's Gulliver's Travels (1726), describes the hero's revulsion at the female form enlarged to gigantic proportions, however he does have some intimate relationships with giant maids of honor. This view of the giantess as an anerotic symbol persisted into the 20th Century: C. S. Lewis's short story The Shoddy Lands describes a journey through the mindscape of the "modern woman." The woman herself appears giant-sized and subsequently (in Lewis' view) repulsive; obsessed with her own beauty, she has become oblivious to the way that beauty is perceived by its intended admirers, i.e., men. In Lewis Carroll's story Alice's Adventures in Wonderland, there are several scenes where the heroine Alice grows to gigantic size by means of eating something (like a cake or a mushroom). Similarly Arthur C. Clarke's story Cosmic Casanova describes an astronaut's revulsion at discovering that an extraterrestrial female he adored on a video screen is in fact thirty feet tall.
Size-changing heroines have appeared in such comics as Doom Patrol, Mighty Avengers, Marvel Adventures Avengers, Team Youngblood, and Femforce. In the latter series, the giantess-superheroines Tara and Garganta combine immense size and strength with beauty and femininity, and have a cult following among both men and women. Conversely, size-changing villainesses, such as Wonder Woman foe Giganta, use their strength and beauty for less altruistic purposes as a weapon to dominate their foes. Giantesses are also common in the Manga/Anime mediums of Japan.
More recent movies with giantess themes are the 2000 film Malèna, the 2001 movie Dude, Where's My Car?, and the 2002 Hable con ella a.k.a. Talk to Her. In Malèna, there is a scene where the young protagonist, Renato Amoroso, fantasizes about being a few inches tall and having Monica Bellucci (Malena), pick him up and take him to her bosom. In Dude, Where's My Car?, five nubile female characters morph into an extraterrestrial giantess played by Jodi Ann Paterson (Playboy Playmate of the Year 2000). Talk to Her features a sequence in the style of early silent cinema called 'The Shrinking Lover,' where an accidentally shrunken scientist is rescued from his mother's clutches by his lover, who carries him home in her handbag. The shrunken scientist then roams his lover's body whilst she lies in bed.
Outside of Hollywood, giantesses have also appeared in special interest films. AC Comics giantess Garganta is featured in a live action DVD movie available from accomics.com entitled Gargantarama, which also includes giantess scenes from many movies as well as the feature length 1958 B-movie Attack of the 50 Foot Woman. Embracing the use of the giantess in popular culture, AC has made it a frequently recurring theme in their products.
Giantesses have also appeared in advertisement campaigns, with similar erotic/humorous intent. In 2003, a commercial for the Italian company Puma featured the theme. The giantess, played by model/actress Valentina Biancospino, stomps around town causing havoc until finally picking up a man (played by Italian footballer Gianluigi Buffon) and kissing him. The following year, Lee Dungarees commercials used the giantess theme alongside the slogan "Whatever Happens, Don't Flinch," hiring model Natalia Adarvez to play a 90 foot tall giantess. Also that same year, Victoria Silvstedt (1997 Playboy Playmate of the Year) posed as a giantess for an advertisement for Max Power London, a car show held in London in November of 2004. In the February 12th, 2005 edition of the UK newspaper, The Sun, Miss Silvstedt again posed as a giantess of Godzilla height next to various London landmarks.
The giantess theme occasionally manifests in music videos as well, notably Pamela Anderson's role as a giantess in the video Miserable for the rock group Lit. In the video, the band members perform on Anderson's body and are eventually devoured by her at the end, a metaphor for the notion of a woman as "maneater."
There is a growing scene of independent producers of giantess videos, one of the most prominent and prolific using advance blue-screen technology and very realistic buildings and props is Giantess Media World
In more recent years, giantesses have been increasingly commonly depicted in youth pop culture. In such media, giantesses are normally portrayed as young, beautiful women of gigantic physical proportions, sometimes over three times the height of typical male giants in similar pop culture. Some of these giantesses are seen as symbols of women's battles against misogyny and violence against women, in which men who hate, despise, and are malicious towards women are crushed or devoured by the giantesses. Giantesses in modern pop culture are often associated with beauty, love, and sexuality, as many of them are the objects of affection of men who are of realistic size. Cartoons and movies featuring a 6-ft man in love with a pretty, 140-ft woman are not uncommon. Giantesses in youth pop culture are often modeled after real young women, then simply magnified on screen using special effects.