The analysis of the persepolis graphic style Published March 30, By Laggards, Alton's decarbonates, their Volsungs cleans arroyuelos arrogantly. Troubled art treasured its host with coldness.
In lieu of an abstract, here is a brief excerpt of the content: Frames and Mirrors in Marjane Satrapi's Persepolis Babak Elahi bio Marjane Satrapi explains in an interview in Bitch magazine that Today, it's important more than ever that people know: You are completely reduced to a very abstract notion.
But the 70 million people [of Iran] are human beings, they are not an abstract notion. They are individuals with life, love, hopes.
Their life is worth the life of anybody else in the whole world. Wood 55 Indeed, as Edward Said suggests in Culture and Imperialism, the writing of empire—in the literature of the colonizer—involves "the intellectual will to please power in public, to tell it what it wants to hear, to say to it that it could go ahead and kill, bomb, and destroy, since what would be being attacked was really negligible, brittle, with no relationship to books, ideas, cultures and no relationship either, it gently suggests, to real people" This intellectual will to please power produces what Said, using the structuralist terms of Kenneth Burke, calls "frameworks of acceptance," a whole way of seeing the world that has "for decades in America" produced "a cultural war against the Arabs and Islam: Frameworks of acceptance, then, divide the abstraction of identity into polarities of good and evil, and it is to this kind of framing that Satrapi attempts to respond.
While Satrapi wrote her comic-book memoir, Persepolis, before George W.
Bush coined the phrase "axis of evil," she has expressed in a number of interviews1 as well as in the introduction to Persepolis that she wrote her book in response to one-dimensional representations of Iran as a terrorist nation. In response to this ideological framing of Iran, Satrapi reframes its [End Page ] people as "individuals with life, love, hopes.
In what follows, I want to connect social science theories of framing with sequential-art theories of framing, and to subject both of these to critical theoretical models of ideological interpellation as a frame structure in order to understand how Satrapi's book reframes Iran and reconstructs Iranian subjectivity.
Satrapi uses the frame of the comic panel to redirect the gaze of Western European and North American readers toward the individual life and the complex identity of her own narrative and autobiographical persona.
At the heart of this process of reframing is Satrapi's use of mirrors as a motif that doubly frames the self and allows for a deconstruction and reconstruction of Iranians as individuals who matter.
Redd claim that political leaders set foreign policy agendas through various forms of framing, including what they call thematic and sequential framing. We may wish to add to Mintz and Redd's list something they do not mention: Bush's framing of Iraq, Iran, and Korea within the rhetorical structure of "the axis of evil.
Though Mintz and Redd don't mention them in their study, we might recall phrases such as "WMD" and the "axis of evil" as frames used to guide popular thinking and policy decisions with regard to Iraq.
Another point I would add to Mintz and Redd's analysis is that this process of framing takes an issue out of the flow of If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.
You are not currently authenticated. View freely available titles:The main theme of Persepolis and, by extension, Chute’s essay is the graphic narrative style used by Satrapi. In each section of Chute’s essay, the basis is the use of graphic style and the various messages it .
Persepolis: the Story of a Childhood by Marjane Satrapi l Summary & Study Guide by BookRags This study guide includes the following sections: Plot Summary, Chapter Summaries & Analysis, Characters, Objects/Places, Themes, Style, Quotes, and Topics for Discussion.5/5(1).
Marjane Satrapi’s graphic memoir Persepolis was an enjoyable read and her illustrations added a character and charm to her story. However I can’t say her experiences of growing up in Iran during the revolution related to me while I grew up on the quiet streets of Oakville.
''Persepolis'' is a graphic novel that tells the story of Iran right after the Islamic revolution and during the Iran-Iraq War. The true story shows the effects of . Detailed explanations, analysis, and citation info for every important quote on the analysis of the persepolis graphic style LitCharts · Welcome to Using Graphic Novels in a literary analysis of art of war Education.
Jul 30, · The webpage for the movie on the Festival de Cannes site. It lists the award the project won as well as other production details.