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Thomas, Beena. "Graphic Exposure: The politics of representation and production in marjane satrapi’s persepolis." Gnosis Special Issue (2019): 180–94. Added by: joachim (25/10/2021, 20:15) |
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| Resource type: Journal Article Language: en: English Peer reviewed BibTeX citation key: Thomas2019 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Persepolis", Autobiography, France, Iran, Representation, Satrapi. Marjane Creators: Thomas Collection: Gnosis Special Issue |
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Marjane Satrapi’s Persepolis (2003, 2004) is a graphic novel that gives a visual account of a young girl who grows up in Iran during the Islamic Revolution and her later struggles in Europe. The original work written in French was published by a French publisher in four volumes between 2000 and 2003 and the English translations were published in the United States and United Kingdom, in two volumes in 2003 and 2004 respectively. It was made into an animated film, by the same name and directed by Satrapi and comic artist Vincent Paronnaud, and made its debut at the 2007 Cannes Film Festival, where it won the Jury Prize. It was also nominated for Best Animated Feature at the 2007 Oscar Academy Awards. Satrapi’s Persepolis may be categorized as a memoir or autobiography, a genre that has found consensus with the diasporic Iranian women to divulge a personal representation of the events of Iranian history and the dynamic gender roles that have had an impact on their lives. It is a phenomenon that reflects how the women victims from this country have embarked to be the voices for change and have thus become a part of the surmounting Arab Feminism. Through her graphic narrative, Satrapi attempts to annihilate the misconceptions that the western world seems to have nurtured about her country and the Iranian women. Among its many concerns, the informal panels explore the conflicts between a gendered modernity and patriarchal structures bound in religion. Satrapi and the western publishers appear to have deliberately capitalized on the form of the graphic novel to reach out to that section of the world which had hitherto marginalized Iran. Similarly, the overwhelming acceptance of the film adaptation of the graphic novel may be attributed to the resurgence of the popularity of animated films among the western young adults and the adults.
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