As we deepen our look into the conventions of graphic novels (panels, gutters, voice overs, symbols, etc.), we have identified juxtaposition as an especially effective technique. For this blog post, identify the panel transition/transitions between two or more panels in our most recent readings in Persepolis. Then, write an analytical paragraph in which you explore how these transitions work to explore or support a theme in the graphic novel. Keep in mind our discussion of the difference between a theme and topic.
As always, be sure that you support your ideas with evidence from the text. Also be sure to be as specific as possible in your evidence, explanations, diction, and syntax.
In my eyes, the left and top right panels on page 103 clearly and precisely convey the theme of the fear inflicted by the various bombings. While a very large amount of panels in this graphic novel are roughly square-shaped, the panel on the left really stands out. Even for a panel that is larger than normal, it stands out of the crowd because most of the large panels are very wide, not very tall. The height of this panel does a great job of showing how many people are running down the stairs into the bunker; if it was very wide or square-shaped, there would be no room to show that. Also, the simple additions of the lines behind the silhouettes show how hastily everyone is running. The transition between this panel and the top right panel is an action to action one, because it displays everyone running down into the bunker and then the alarm sounding within the bunker. The second panel shows the alarm sounding inside the bunker. The juxtaposition between the movement lines of the alarm and the alarm itself and the people is very clear too, and clearly conveys how at that time, the alarm is the only thing important. The transition between these two slides seems quite abrupt, but does a great job of conveying the sense of fear and haste the people have; one moment they are chaotically sprinting for their lives down the stairs, and the next moment they are all completely silent and huddled up in a bunch while the alarm is ringing loudly.
ReplyDeleteOn page 112, the transition between the first and second larger panel is an example of a scene-to-scene transition. The second panel is the entirety of the scene, then it switches back to where she was before. This transition between an image of her and an image of the war helps to show us the theme of this story. This theme that it helps to convey is the theme of change. This theme is evidenced by many parts of the book. The first is the changes that take place with Marji. She changes throughout the story both physically and as a person. She matures and her philosophies change. This theme of change is shown by her attitude towards the new war. When she was very young, she would have not understood the war. When she learned about her country and became more educated, she would have felt that facts were everything. Next she would have wanted to join and be a hero. Here is different though. She is reflecting on how the war isn't helping anyone and is just costing the country it's people. This shows her maturity and her change. The transition is evidence of this. She doesn't want the war, so she reflects on it with sadness.
ReplyDeleteCorrection: the page number is 116
DeleteA specific transition between panels that signifies a theme throughout Persepolis is the action to action transition in the four panels on page 117. In the second of these four panels, Marji is clearly in pain after have her first inhale of the cigarette, yet she is shown continuing to smoke the cigarette and weeping tears in the third panel, but in the fourth panel there is a change in emotion. Marji has a fierce look on her face and is holding her cigarette with pride. The cigarette in this panel symbolizes to Marji her entry to adulthood. Through the symbolism from the four panels it is easy to see the theme of Marji wanting to be an adult. Constantly, Marji wants so desperately to be an adult which leads to her careless actions. Her careless actions are also shown in these panels. In the second panel Marji is coughing obviously hurting herself, yet in the third panel she continues to smoke her cigarette. This is an example of how Marji ignores the outcome of her actions. Both Marji’s attempt to be an adult and careless actions are important to the book, and the four discussed panels clearly portray them.
ReplyDeleteThroughout Persepolis, there have been many transitions that have enhanced different panels throughout the text. One transition that I find especially effective is the action to action transition of Marjane walking down the stairs into the basement on pages 114 and 115. This both serves as an effective transition to signify the progression of the country plunging further into the war and documenting the country's advances in the war. In the latter three panels, Marjane is commenting on the status as she walks down the stairs. The first panel of the starts with Marjane turning on the lights and facing the stairs. The voice over says, “The Basement was my hideaway.” (Satrapi 114). I think that this panel signifies the start of the conflict where Marjane is looking at the road ahead. When we look at the illustrations we can see that see has a blank stare on her face as though she doesn't know what to expect. The next panel is of Marjane walking down the stars with the door still in view. Marjane then says, “As it turned out, they did retake Khorramshahr. We all thought that the war would finally end.” (Satrapi 114) Again Marjane has the blank stare on her face, as though she does not know what is going to happen. The panel after that has Marjane walking down the stars with more stairs behind her. Marjane says, “In fact, Iraq proposed a settlement, and Saudi Arabia was willing to pay for reconstruction, to restore peace to the area.” (Satrapi 114) I find this panel to show how Marjane at this point is angry (arms held above her head) and sad (her more distinguished frown) from the conflict. The final panel has Marjane walking down the seemingly endless stairs saying, “So we plunged deeper into war…” (Satrapi 115) Finally the last panel shows Marjane looking down sad as she talks about the current state of the war. I feel that this signifies Marjine realizing that the country has engaged in the war and it is too late to turn back. Progressively throughout the panels, the illustration of the stairs are made longer. I feel that this too is trying to communicate the idea of the country going farther into war. Overall, the transition on pages 114 and 115 convey the idea of the country going farther into war.
ReplyDeleteFear is a theme carried throughout the graphic novel Persepolis. The emotion is powerful and debilitating. This fear is shown not only in individual panels but in transitions as well. An example of this transition would be on page 107. The whole page shows the interaction of a mother, her baby, and Marjane. The first panel shows everyone at a party, then the sirens go off, Marjane's aunt screams, leaves her baby, and runs. These panels show action to action. One action leads to another. Marjane proceeds to say "Her mother had already abandoned her. Since that day, I've had doubts about the so-called 'maternal instinct.'" (Page 107) This action shows how the aunt no longer cared about the baby but only cared about herself. I think this signifies how fear can affect a person. The mother's fear is shown through her facial expressions. Her eyes are bulging and her face is stressed. She is also running, out of fear, down to the basement. If the threat was not as apparent, I would hope that the mother would have acted differently. But due to the fact that a war was going on, the aunt's fear lead to her abandoning her child in an attempt to save herself. The action to action transitions between these panels illustrates the debilitating effect of fear on Marjane's aunt.
ReplyDeleteOne of the specific transitions I found in Persepolis was on page 102. There were only two panels but on the first it showed brainwashed child soldiers with key around there neck thinking that if they die in battle, they will get into heaven with the key. But in reality, they are being used to blow up minds and go into the battle first. This was biggest of the two, taking at least 2/3 of the page, which I think was trying to show its significance to the panel below it which was of children partying. In the second panel it shows Marji partying with friends in her punk outfit.
ReplyDeletePanic is a reoccurring theme in the graphic novel "Persepolis", and panic is clearly shown in a scene to scene transition on page 89. On this page, the top three panels show Marji's mother urgently calling her friend, Mali, after finding out about the bombing in Abadan. The rest of the page is filled by one large panel showing cars urgently escaping the chaos caused by the bombing in Abadan. These four panels are a great example of a scene to scene transition. The scene to scene transition excellently displays the panic and chaos that is occurring in Marji's life. The transition from three small panels to the one large panel clearly conveys the significance of what really happened. It shows that the event was devastating and it caused a lot of panic. Also, the image of the copious amounts of cars escaping the large flames shows the panic and chaos that was going on.
ReplyDeletePage 116, along with the first three panels of page 117, are effective examples of transitions working to support thematic elements throughout the novel. With a large, over-emphasized panel depicting the ever-present conflict in Marji’s life the viewer’s attention is immediately drawn to evidence of violence. The next panel transitions back into Marji’s life, apart from her imagination, where she seems to be having a less than pleasant time with her current circumstances. With a solid, contrasting background on the next two panels, the emotion of the scene is clearly supported by its correlating visual elements. As the story progresses, it because more and more evident that Marji is eager to grow up and as an attempt to expedite said process, smokes her first cigarette. We see a sequence of emotion unfold as she inhales her first breath of smoke. Coughing, crying and then a sudden transition; Marji could not be more proud of the transition she has just made and, despite how very unpleasant the experience was. By immediately commanding the reader’s attention with the use of high saturation and vivid contrast, not only the loss of innocence but also the hastiness of the situation shines through.
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