Persepolis As A Biography Portraying Life Growing Up In Iran

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Iranian New Wave Art Cinema began prior to the Iranian revolution in the 60’s. Early Iranian new wave Cinema, was pro-Western at this stage Ashraf Pahlavi was modernising the film scene, closely tied to the political and cultural context of the country, before Pahlavi was overthrown in 1979. (Mottahedeh, N 2006, pg. 176) Not only because he was royalty, but he was seen to be taking Iran away from its Islamic foundations. Shortly after the Islamic Revolution, Iranian art Cinema experienced significant growth and from there gained popularity in the international film festivals in years that followed. The new restrictions and censorship established by the Khomeini regime ensured that film industry would be used to educate the population, promoting the fundamental aspects of the Islamic culture. . (Mottahedeh, N 2006, pg. 177) From this, Iranian Cinema director’s managed to create a new visual language in order to convey messages to their audience. These censorship guidelines forced Iranian filmmakers to develop a new cinematic language, contributing to the new visual style that is distinctive to Iranian cinema. As seen in Persepolis, a documentary-style memoir of Marjane Satrapi’s life as she grows up during the Islamic Revolution. A discussion follows that explores key characteristics of Iranian art cinema which are evident in the animated film Persepolis. A number of studies demonstrate the impact of censorship, through the Islamic religion, documentary-style directors and how growing up in Iran through the Islamic revolution impacts Marjane life. Expressing through cultural, political and social views, this documentary-style shares the struggles living in Iran at this time.

Generally, Iranian Cinematic directors have been very influential as they connect art with life and show contemporary real-life problems of ordinary people in a documentary style. Persepolis, is an example of a documentary feature film, portrayed through the art of black and white animation. (Mottahedeh, N 2006, pg. 179). ‘Animation, in part through its material differences from live-action films, shifts and broadens the limits of what and how we can show about reality by offering new or alternative ways of seeing the world’ (Roe, AH 2013. Pg 2 ) Persepolis closely portrays Majane and her family, with the ongoing concerns and dangers of living in Iran at this time. This was illustrated in a unique artistic way to portray real life, through deep and moving dialogues, visual language and indirect messages to the viewers. The life of Marjane and her family during this Islamic Revolution was revealed. The use of animation displays the information, in an easy to understand factual information that is communicated more efficiently. Many film also conveyed more than facts through their animation by using is for emphasis and visual association. Simple symbolism prevails throughout Persepolis, such as pitting dark hues for enemy’s. This type of symbolism is shown in Majarnes early years, when she is going to buy her rock music she, is overshadowed by two ladies, who are unhuman like.( Roe, AH 2013 Pg 8 ) This portrayed though animation to create an emphasised character. Similarly, when Marjane was sent to Austria to protect her form the war, where she confronts misunderstanding, dislocation and loneliness. (Hernandez, ML 2010, pg 80) She was forever explaining to people what was happening in her country, from this she took up writing as this was the perfect medium for story telling without being interrupted. (Hernandez, ML 2010 pg 79). From this autobiography written in Marjanes early years, Persepolis was written. With the help of Iranian filmmakers, the success in formulating a dynamic plot structure with stimulating character reference by documentary-style at high quality of Iranian New Wave cinema has remained. Long after the revolution this certain cinematic style is still attracting viewers from all over the world.

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Regulations to this new wave were put into effect in 1982 mainly targeting the representation of women and heterosexual relations, as the film industry abided by the ‘rule of modesty’. This law dictated the way in which women were seen of film and generally in Iran, which made it a necessity that all women wear scarves, veils and loose fitting tunics. (Mottahedeh, N 2006, pg. 178). This meaning women cannot be seen uncovered, with no physical contact and were prohibited from looking at each other with desire on screen. Additionally, women were obliged be modest, to uphold their dignity, and were to avoid activities that would reveal the contours of their body. (Mottahedeh, N 2006, pg. 177) The veil symbolises the intrusion of Islamic cultural policies on the private space of cinema. These laws enforced the veiling of women in all circumstances although Islamic traditions encourage the veiling of women in public and in the company of unrelated men, the introduction of veiling in the cinematic representation of private spaces and activates involving only women contradicted the conventional perception of film as representing reality. Because even the most religious women did not veil in from of their husbands in real life the representation of veiled women in private familial spaces seemed unrealistic to Iranian audiences. While Islamic laws affected many areas of social and cultural life, such as entertainment, the veil came to stand form the unbalanced interference of Islamic cultural polices on private practices in cinema. (Mottahedeh, N 2006, pg. 178) This intrusion you can see in Persepolis, as Marjane is walking down the street in her veil whilst trying to purchase Western rock music, abruptly stopped by two women in their Chadors, although not for trying to buy the music, it was because she was wearing her hijab that exposes to much of her face. Marjane, gets home in the private space of her room where she takes off her veil and flicks her hair back on forth to the music she purchased. With our knowledge of realism and the modesty laws we can associate Marjanes behaviour not only as realistic but as a critique with the staged realism that requires women to wear veils in the privacy of their own homes.

Because the censorships laws prohibit Iranian cinema from using the techniques of Hollywood realism. Therefore, Iranian cinema were to come up with their own language in which to portray or suggest what they can’t directly show.

Above all else, Majane is on constant development in her own personal life, she is exploring and finding her place in the world. Although this is a story of Marjane’s family and her life growing up, this portrays many girls and families who were in the same position. Witnessing historical event’s, she conveys her own personal story through the process of discovering and shaping her individuality identity. (Stola, Magdalena. ) From a young age she began her awareness of the injustice of life in Iran which made her grow up quickly, with a broad awareness of what is happening around her. Although a child, Marjane wanted to participate in the protests and gain knowledge about the situation which was unfolding before them. Marjane sees all people as equal and finds it hard to understand the differences in society. Marjane is an example of many children whose childhood were invaded by politics and religion and a fight for freedom. (Stola, Magdalena. ) These experiences shape the person who she became and the views of her emerging personality. Once moving to Austria, she often would be insulted because of her nationality, this would start the discovery of the strong proud Iranian woman she became. This was Marjane accepting her identity, living in true freedom. While Persepolis is undoubtedly an autobiography, it is also the story of a nation and its people. By, Marjane reaches back into her childhood memories with the aim to educate the people of today, this would let her embrace and be thankful for the life she has. By creating, and sharing Marjane’s experiences she portrayed her life and many of the children at that time.

In conclusion, due to Marjane’s teenage rebellion and loss of innocence growing up in Iran, this memoir, Persepolis, is a perfect biography portraying life growing up in Iran both as a child and as an Adult. The impact of censorship in Iran and how this new visual style that is distinctive helped develop a new cinematic language. Each stage of Marjane’s life are all experiences and lessons which led her to the person she is today. What Marjane Satrapi hopes that her readers take away from the memoir of her childhood is, changing their perspective on Iran. Many people have a certain perspective any time Iran is mentioned and this memoir helps you see the perspective of people that have decided to stay and live in Iran despite all the events that were occurring.

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