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My students love how organized the handouts are and enjoy tracking the themes as a class.”, LitCharts uses cookies to personalize our services. *One last quick point I think is worth taking from this presentation is the distinction Chaney draws between graphic novels and cinema. ( Log Out /  There will be panels in which the word completely over powers the image or the image out-weighs the text, and while they still work together it is vital to bring their relationship into view for the novel to be more fully understood. From the creators of SparkNotes, something better. Plot Summary. It’s a form of dramatic irony that anyone who knows about the recent history of Iran can see coming. (including. Our, LitCharts assigns a color and icon to each theme in. Change ), You are commenting using your Twitter account. WEEK 1: Daniel Mora . How we try to find meaning somewhere in between” (17:00). Detailed Summary & Analysis The Veil The Bicycle The Water Cell Persepolis The Letter The Party The Heroes Moscow The Sheep The Trip The F-14s The Jewels The Key The Wine The Cigarette The Passport Kim Wilde The Shabbat The Dowry Themes All Themes Religion, Repression, and Modernity … Though the old man, unlike the young man, did not lose his life in the fight against the regime, he still gets celebrated as an equal martyr. There is no blood, no skeletal system, and with the positioning of the body it maintains a sense of its whole. Satrapi uses an image that can only be read as from the character’s own perspective which is a characterization tool for the reader. And it is because of this effort he says that while the cinematic audience remains a passive spectator, in graphic novels they must be something else entirely (~8:45). In this image, Marji’s parents are celebrating the success of the rebellion. Although the caption clearly narrates a torture scene, the image of the victim doesn’t portray the gruesome details an adult reader knows the narrative would have contained. “How we trouble the easy way with which [words and images] coalesce. Externally, both images open the novel with relatively little detail between these five people and especially as each girl wears a veil outwardly much of their character is indistinguishable from the other. Summary The re-election of Mahmoud Ahmadinejad led to protests. Change ), History of Persepolis and The Islamic Revolution. Marjane’s father, an avid detractor of the current regime, here tells an ironic story about the way that fact and fiction get confused in the turmoil and passion of the revolution. Persepolis Panel Analysis. From panel one, this is in fact the author which gives the image the verisimilitude that carries throughout the text. She describes the way the Shah wasted enormous amounts of money on propaganda when the people of Iran were suffering from poverty and hunger. Persepolis Introduction + Context. Struggling with distance learning? Persepolis Panel Analysis. Its narrative style attracted me. ( Log Out /  By using our site, you acknowledge that you have read and understand our. She is still too young and still sees everything as right or wrong, good or bad. This is not to say the written Persepolis is any way lesser than the visual one, but only that the graphic novel relies on the image for effects of story it doesn’t find suitable for language. The Shah had just fled from Iran and everyone celebrated happily. He specifically uses Persepolis‘ first two panels to introduce how Marjane Satrapi “trains” the reader to disintegrate the image from the text in order to better understand her them both: Persepolis: The Veil: panels 1 and 2 . According to Chaney(~3:50), this panel shows Marjane’s character both internally and externally. Marjane cannot understand the irony because she cannot see the nuances, the grey areas, or even the funny absurd parts about what is going on around her. This image foreshadows the darkness that will come with the new government. The devil that encircles the Satrapi’s also has a hand covered over Marji’s mother to represent that the Dictators and devils always hide they’re true nature and blind the people of Iran so it’s too late to take them out of power. So with this in mind I want to add something beyond Chaney’s analysis of the first two panels, and say that the veils accomplish something more for the reader here: they draw us straight to the character’s expressions and so to their internal characters. Create your own unique website with customizable templates. What the presenter Michael Chaney directs the audience’s attention toward is how graphic novels are structured to couple two distinct “symbolic systems” in words and images, and how even on the level of quantifiable plot details they can disagree with each other. So the effect is almost a reverse from the onset where now it is the words that are incapable of telling the real story, and Satrapi as both author and protagonist affirm the image’s significance once and for all. But what does this remind you of? Teachers and parents! The introduction of the image into any novel presents a new set of possibilities for the author and a new way to converse with the reader. With only images left we become responsible for writing the narrative, and yet its easier than it was before because throughout the graphic novel the reader learns to rely on images for information equally with the text, if not more so. Instead of answering Marjane’s question about her grandfather, Marjane’s grandmother avoids talking about his torture by talking about other difficult but less traumatizing subjects. In class, we have watched a trailer about this story. Change ), You are commenting using your Facebook account. Ironically in how these two images parallel each other, they draw our attention to everything that had to occur and change for the character to make her come full circle. From the book, I found this page interesting. The text is in relationship to the panels it is attached to and yet if the choice to write a memoir in the graphic novel genre accomplishes anything, at the very least it challenges the role of the language. In the 5th panel it shows how they are playing in the playground. “Would not have made it through AP Literature without the printable PDFs. LitCharts Teacher Editions. A series of images can be read without their text to string their own narrative together, and they should be because Persepolis is told through multimedia. According to Mcloud, the more accurate, detailed faces actually detract from the novel’s realism, whereas in the more “cartoonified” depictions it is easier for the audience to project the mental state upon them. Marjane looks towards all of her family members to describe and explain the confusing facets of the rise of the Shah and the subsequent revolution – both how it happened, and also how her family is connected to it. The image also displays a snake-like creature slowly wrapping itself around the border. It almost symbolizes this circle of dictatorship that the Iranians have gone through many times. For Chaney, graphic novels demand that the reader is constantly engaged in connecting the images to their text and the single panels to the novel as a whole. Persepolis Introduction + Context. Think back to the very first panels of the novel, and you’ll see a striking resemblance between this panel and the first one (Panel is shown two posts earlier if you don’t believe me). So in a sense, it is the reader who fills in the image’s detail thereby achieving a greater believability in the character by the reader (~2:50). This idea of verisimilitude becomes more interesting in the context of the presentations previous analysis put forth by the graphic novelist Scott Mcloud on why many contemporary graphic novels including Persepolis choose to employ simplistic, undetailed cartooning. He specifically uses Persepolis‘ first two panels to introduce how Marjane Satrapi “trains” the reader to disintegrate the image from the text in order to better understand her them both: According to Chaney(~3:50), this panel shows Marjane’s character both internally and externally.

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