In visual narratives such as Persepolis, the author uses single
frames to illustrate the passage of time and ideology. Everything from the
illustrations themselves to captions helps demonstrate these changes. The way
the characters appear and the things they say also help depict the passage of
both time and ideology.
In one frame, Satrapi uses a picture of the Shah on the
television (Satrapi 40). This represents not a passing of time, but a passing
of ideology, as the Shah finally agrees to change the political make-up of the
government. He is shown standing, most likely during a televised speech to the
public, saying, “I understand your revolt.” It can be inferred that he realizes
the revolution will not end until something changes; either the Shah will step
down, or democracy will pursue. Though it says nowhere in this frame that his
ideology has changed, it can be inferred by his stern face and the possibility
that he is speaking to those whom he is trying to please.
A very successful change in time is depicted on page 89 of
the book Persepolis. In this frame, cars filled with fleeing families are
driving away from flames that engulf everything that comes into contact with
them. It can be inferred that while many families are fleeing from the bombs and
deaths, not all families would leave at the same time. Likewise, the flames
would not follow directly behind them on their escape. There is some time
passing between the cars and flames.
Though the passing of time and ideology is not set in stone
in visual narratives, both changes can be depicted using inferences. The images themselves, dialogue, and captions
can suggest these changes to the narrative’s audience.
I liked your thoughts about the Shah's scene showing passing idealogy, which does indeed infer that democracy (or, at the very least, some change) is forthcoming. Another example which illustrates an unmentioned time change is when all of the children at Marji's school were called to beat their hearts in support of Iranian martyrs on the first day of class "after summer vacation" (p. 96). We don't know how much time has passed precisely, or when summer ended/began in relation to the story, but we can tell that a marked change had occurred in views on dead soldiers (i.e. that they were now to be supported overtly in school) which was not previously known to the reader. The effectiveness here lies in its ability to stir the readers imagination in thinking about hundreds of teenagers (or children) banging their chests in respect and support for their soldiers and dead martyrs, whether or not they believed it.
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