Question: Compare and contrast the storytelling strategies, impact, and what you perceive as the intent of the graphic novel Persepolis and the film Persepolis

Prompts

Multiple prompts are available to you; choose two. (If you submit more than two, we'll just grade the first two.)

Some prompts tell you pretty specifically what works to use. Others invite you to choose works on your own. These questions may refer to "theoretical works" and "literary works". By that I mean:

Theoretical works: Hegel, de Beauvoir, Ahmad, Spivak

Literary works: Ortiz Cofer ("The Story of My Body"), Lewis (March Pt 1), King ("Letter from Birmingham Jail"), Morrison ("Recitatif"), Achebe (Things Fall Apart), Satrapi (Persepolis), and the Persepolis film

You can make references to the videos in the modules if you wish, but you should cite them, and they are not major works you can focus your essays on.

Please demonstrate your breadth by choosing prompts and texts that require you to use different texts for each.

Here are your midterm essay prompts:

You MUST answer question 1:

Choose 1 of the prompts below to answer as well:

1. REQUIRED LITERARY text: Achebe

Select 2 THEORIES theorists not discussed in Q1

The novel Things Fall Apart ends with a shift in perspective. For most of the story, the reader is positioned close to Okonkwo and his family, but in the last few pages, we are distanced from their perspective and our view is repositioned to that of the British colonizers. Compare and contrast how any two of our theoretical authors would analyze this final scene (the scene after Okonkwo's suicide).

2. REQUIRED LITERARY text: Satrapi Select 1 THEORY not discussed in Q1

In the module about Marjane Satrapi’s Persepolis, we discussed the idea of intersecting identities in relation to her experiences as a child in Iran. But intersecting identities are also relevant to her experiences in Austria as a teenager, in both how she finds her place socially and how other people view her. Using Hegel, de Beauvoir, or Ahmad, discuss how Marji’s identities combine (in the eyes of Austrians) to construct her as Other, and how she navigates that Othering to construct her Self. To put the same question another way: think about how and why Marji is treated as Other, and how she uses her "Other-ness" to create a sense of self.

3. REQUIRED THEORY text: Hegel

Select 1 LITERARY text not discussed in Q1

Choose any of our literary works and explain how the Master-Slave Dialectic reflects what's going on in the work, and how it doesn’t. Then choose any other theoretical work and analyze how it complicates and/or reveals something about Hegel's theory when applied to the literary work. To put the same question another way: pick a literary work, and write about how Hegel's theory is useful to describe what's going on in the work to a certain point, and then what the limits of that usefulness are. Then pick a second theoretical work and explain how it better fits or fills in gaps where Hegel's approach is limited.

5. REQUIRED: Persepolis, graphic novel and film

Compare and contrast the storytelling strategies, impact, and what you perceive as the intent of the graphic novel Persepolis and the film Persepolis. Your essay should be based on specific scenes and doing close reading of those scenes in comparison to each other. Pay close attention to details and the craft of storytelling, thinking about the types of reading strategies recommended by Dr. Ashley Pérez in her video on reading Persepolis as well as other reading strategies discussed so far this term.

STUDY TIPS / DRAFT:

"Persepolis" is a unique and powerful story that is told through two different mediums: a graphic novel by Marjane Satrapi and an animated film adaptation of the same name. Both versions are autobiographical accounts of Satrapi's life growing up in Iran during the Islamic Revolution and the subsequent war with Iraq. While the graphic novel and the film share a common source material, they employ different storytelling strategies, have distinct impacts on the audience, and convey varying intents. In this essay, we will closely examine specific scenes from both the graphic novel and the film, comparing and contrasting them while considering various reading strategies.

One of the essential elements of "Persepolis" is its visual storytelling. In the graphic novel, the black-and-white illustrations are stark and minimalistic. The lack of color emphasizes the gravity of the subject matter, creating a sense of universality and timelessness. For example, in the graphic novel, when Marjane witnesses the death of her uncle, the use of stark black and white contrasts in the artwork powerfully conveys the emotional weight of the moment. The minimalist style also highlights the stark reality of life in Iran during the Islamic Revolution.

In contrast, the animated film takes full advantage of the visual medium. It uses color, movement, and music to evoke emotions in a way that the graphic novel cannot. In the same scene of Marjane's uncle's death in the film, the use of color, along with the hauntingly beautiful animation, creates a more visceral and emotionally charged experience. The audience can hear the sounds of the street and the people mourning, adding another layer of immersion.

Another crucial aspect to consider is the impact of both versions. The graphic novel allows for a more contemplative reading experience. Readers can linger on the pages, absorbing the details and processing the information at their own pace. This deliberate reading strategy enables readers to form a deeper emotional connection with the characters and events, such as the scene where Marjane discovers her grandfather's political past. The stark, visually arresting images in the graphic novel make readers more active participants in the storytelling process, engaging their imagination and empathy.

Conversely, the film offers a more immersive and emotionally immediate experience. The combination of visuals, sound, and animation brings the story to life in a way that the graphic novel cannot replicate. When Marjane's family home is searched by the authorities, the audience can feel the tension and fear in the air through the combination of suspenseful music, lighting, and the characters' facial expressions. The impact of these scenes is intensified by the medium's ability to engage multiple senses.

The intent of the graphic novel and the film also diverges in some ways. The graphic novel allows for a more personal and introspective connection with Marjane's story. It emphasizes the intimate nature of a memoir and encourages readers to reflect on their own lives and beliefs. Satrapi's intent seems to be to draw readers into her world, allowing them to witness her experiences and understand the complexities of her identity.

On the other hand, the film seems to have a more outward-focused intent. It uses the power of animation and sound to convey a sense of shared experience and universal themes. The scenes that depict the protests and the war with Iraq are particularly impactful in this regard. The intent appears to be to create a collective understanding of the historical and political context, highlighting the broader implications of the events in Iran.

In conclusion, both the graphic novel "Persepolis" and the film adaptation of the same name are compelling and thought-provoking works of art, each with its unique storytelling strategies, impact, and intent. The graphic novel leverages the power of the written word and minimalist visuals to engage readers in a reflective, contemplative experience, emphasizing the personal nature of the memoir. In contrast, the film uses animation, color, sound, and movement to immerse the audience in the story and convey a more universal, outward-focused message. Both versions of "Persepolis" are powerful in their own right, and the choice between them ultimately depends on the reader's preference for a more personal, introspective experience or a more immersive, emotionally charged one.