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margin satrapy's persepolis
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whether it's this version or this
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version
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has a lot to offer the reader how does
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she do it
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that's what this video is all about when
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i say a lot to
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offer the reader i'm talking about
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value there's a word valuable down there
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what's valuable
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what's valuable in reading our work well
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investigations of value for me really
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center around
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theme so to understand theme you gotta
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ask a question you say
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well what is margin satrapy
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saying or trying to say about the
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subject
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well what's the subject what is what's
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the book about what are the subjects
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that are in the book well there's a lot
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repression
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social control revolution marxism family
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mental health social class history
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imagination the power of the imagination
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cultural identity drug use and abuse
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marriage
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sexuality memory resistance growing up
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gender religion violence war justice
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education the middle east as a region
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patriarchy
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torture tradition and forgiveness
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these are the subjects different
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chapters sometimes a whole chapter will
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focus on one or two of an idea some
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sometimes a subject just kind of comes
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and goes
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but most importantly is like if we have
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a subject like memory
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when you read the whole book when it's
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all over and you ask yourself this a
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question
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what is margie and satrapi saying
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trying to say about memory
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what does she want to give the reader
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what kind of understanding that you want
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to give the reader
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that's because literature is really
00:01:47
designed to help us with the human
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condition
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so these are big ideas we're going to
00:01:54
get into much more detailed
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ideas later well i don't know if this is
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going to be a two-parter or a one-parter
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we're going to talk about how it works
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authorial choice what is it that she
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does
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but most importantly for you as a reader
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is like
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well who cares why would it ever matter
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what she thinks about family or marxism
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or revolution
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or social control well
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we're all humans if you're watching this
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you're human
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we are born why do we born and we die
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why why do we have to die it's not easy
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being human
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it's complicated we need help and if we
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learn something conceptually emotionally
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maybe something about perspective
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well that would be really really good
00:02:41
something that would
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help us with our own understanding of
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maybe our own family
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or maybe our own struggles with
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sexuality or justice
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or our own understanding of education
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the idea
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is this is really good there's something
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in here
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there's there's a there's a there's an
00:02:59
understanding
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or maybe a particular attitude toward
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or maybe some insights maybe something
00:03:06
we didn't realize about
00:03:09
revolution or family or the imagination
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and so we need to think carefully about
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what it was she was trying to say
00:03:18
because it is a good book there's value
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in here
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so let's start to look a little deeper
00:03:25
into the choices that she makes
00:03:27
i think i identified 33 and defined them
00:03:30
because i think
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a struggle that a lot of people have is
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like i know what's going on
00:03:35
i know that there's something in here
00:03:36
that's really interesting about uh
00:03:38
cultural identity but like how do i pick
00:03:41
it apart how do i describe it how do i
00:03:43
analyze it
00:03:44
well let's start talking about it let's
00:03:47
just get right into the work
00:03:49
and talk about how it works
00:03:52
here we have chapter one so
00:03:55
it's a graphic memoir this is a graphic
00:03:58
memoir
00:03:58
which means it's true stories drawn from
00:04:01
her own life
00:04:02
that she is narrating herself
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so what is the choice
00:04:09
this choice of graphic memoir how does
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it allow
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what does it allow satrapy to do and
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what implications does this have for the
00:04:17
reader
00:04:18
what is your experience reading this
00:04:24
that's an authorial choice a choice in
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form graphic memoir
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why second choice it's in black and
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white
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what impact does that have on the reader
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there's no color there's nothing in
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between
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there's shading but there's black and
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white
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are used to make the images it's another
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authorial choice
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verbal narration so in every panel
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sometimes we have dialogue sometimes we
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have no dialogue dialog is indicated by
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our dialog bubbles that we're familiar
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with but
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in most panels there's some verbal
00:05:05
narration now this verbal narration
00:05:08
is the voice looking back
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i think now would be a good time
00:05:16
to talk about margin
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satrapy's life so here she is
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margin satrapi born about 1969. in 1979
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is when the islamic revolution
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occurred she was about 10 years old
00:05:31
shortly after that a major war broke out
00:05:34
between
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iran and iraq and
00:05:38
at some point early in that war her
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family sends her to europe so she's sent
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away from her family
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13 14 years old and then
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now if you're reading this version of
00:05:49
persepolis one
00:05:50
which is wonderful great it ends right
00:05:53
there
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it ends when she's sent away so the
00:05:57
entire
00:05:58
focus of the narrative is this time
00:05:59
period right here sometimes she goes a
00:06:01
little bit further back
00:06:03
if you're reading the complete
00:06:04
persepolis you'll see the rest of the
00:06:06
story
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all the way to 1994. but that's not the
00:06:10
end of the story
00:06:11
for margie and satrapy because this is a
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memoir
00:06:15
it matters when she wrote it
00:06:18
she wrote it in 2002 when she was about
00:06:22
30 years old so this voice
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is the voice of a 30 year old woman
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who has lived through all of these
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experiences looking back
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on her own life which gives her
00:06:36
a unique perspective on the events and
00:06:39
it's also a unique format
00:06:41
so graphic memoir is the form
00:06:44
in a graphic memoir or any memoir the
00:06:48
writer is also
00:06:49
a character in the story that's unique
00:06:54
so in that narrative voice here are
00:06:56
things to look for and think about
00:06:59
how should we describe the knowledge the
00:07:00
perspective the emotional responses of
00:07:02
the narrator
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as opposed to dialogue between the
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characters or margin
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the character what does this
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narrative voice the one that's right
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here know
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about everything that the characters
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don't know
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well this voice knows how things are
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going to turn out and so
00:07:21
look for the relationship between the
00:07:23
images and
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margin satrapy's character depicted
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and this voice do you see irony
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hyperbole understatement a dry wit
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personal commentary or evidence of a
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struggle with remembering
00:07:44
so remember here when i said look
00:07:48
maybe there's something valuable to
00:07:49
learn about memory
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well we have to figure out what it is
00:07:54
that she's trying to tell us
00:07:56
about memory you know not about any of
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the specific
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characters or moments in the story but
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what are the things about memory
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so for so for these subjects that you're
00:08:06
looking for
00:08:07
notice that none of them are like tied
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you know directly to like the events
00:08:13
that are depicted
00:08:14
in the story war is
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yeah you could learn about the iran-iraq
00:08:19
war but when it comes to the subjects
00:08:20
and themes and these bigger ideas that
00:08:22
we're trying to draw from
00:08:23
it's the concept of war it's the concept
00:08:26
of violence
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it's the place of religion within a
00:08:30
culture
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it's the institution of marriage it's
00:08:38
memory
00:08:40
here we have a specific example of a
00:08:42
possible irony
00:08:43
you know irony is always an act of
00:08:45
interpretation
00:08:46
and so whenever you see irony it's your
00:08:49
speculation
00:08:50
that what is being said or meant is not
00:08:55
what it is on its face you have to look
00:08:58
a little deeper
00:08:58
and in this case she says the islamic
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revolution but she puts islamic
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in quotation marks why does she do that
00:09:07
because maybe from her perspective
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as a 30 year old looking back on these
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events it's not really fair to call it
00:09:14
an islamic revolution without saying
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it was an islamic revolution now maybe
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that's what she means
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i don't know that's my active
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interpretation as a reader
00:09:28
narrative voice moving on
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there's also choices that she makes at
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all times
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in this format that are a balance
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or some kind of sometimes tension
00:09:41
between how is she going to tell the
00:09:43
story
00:09:44
through verbal narration right here
00:09:46
right here through dialogue
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between characters that we see right
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here or through visual storytelling
00:09:53
at different times those are choices
00:09:57
why in this moment did she use verbal
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narration
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why in another moment did she use
00:10:01
dialogue and why in another moment did
00:10:03
she use visual storytelling
00:10:04
those are the acts of interpretation and
00:10:06
analysis that you can do
00:10:08
as someone trying to figure out what
00:10:09
this means and what it's worth
00:10:12
and what you can gain from your
00:10:13
experience as a reader
00:10:17
structure structure is huge it's huge in
00:10:20
all literature
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but i love teaching graphic narrative
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because
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you can see it choices
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always choices why did she choose to
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open the graphic novel with a her
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alone in the middle nobody else around
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her
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and then her next structural choice was
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that she as she moved forward
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she moved herself out of the center and
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had everyone else but not her
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and so uh how is the story built
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well and to just start your journey of
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an examination of structure
00:10:57
you can say how many panels per page
00:11:00
this one has one two three four
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five this one is double wide these are
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centered in the middle
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they're kind of equal so you look at how
00:11:07
things are weighted and balanced
00:11:09
and how are things positioned i'll talk
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about this later as i dig deeper into
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this
00:11:14
first chapter and a half but where are
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things positioned
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uh where does the eye move it center
00:11:20
position often is a dominant position
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this one does not have a center position
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so the dominant position really becomes
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right here
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this is like the like the topic sentence
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this is how we read we start reading
00:11:32
here and then we move this way
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of course we do but
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on any page this might set the tone
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and we'll see what it looks like when
00:11:44
you have something in the middle on the
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next page
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here we go so here we have two pages
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that image is in the middle
00:11:52
why that image in the middle and look at
00:11:55
also
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it has taken over the entire center line
00:11:59
of frames
00:12:00
of panels and so that's a dominant
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position
00:12:04
for a man who is in a dominant position
00:12:07
of authority
00:12:08
and then and i think i talked about this
00:12:10
in another point
00:12:12
so i think i'll hold off on that for now
00:12:14
because i talked about position
00:12:16
now we need to talk about juxtaposition
00:12:19
juxtaposition is huge
00:12:20
in graphic narrative it's an implied
00:12:23
comparison
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based on placement and proximity so
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sometimes
00:12:27
there's a very powerful comparison made
00:12:29
just because two things
00:12:31
happen to be next to each other i have
00:12:34
an example of
00:12:36
that
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i think i'll come to it when i go to
00:12:40
that page but you can also have
00:12:42
juxtaposition
00:12:43
if something is in the same position on
00:12:45
the page so here's the first page
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it looks like this and then when you
00:12:48
turn the page what you see
00:12:50
is that so if you're analyzing
00:12:54
her use of images and juxtaposition as
00:12:57
a as an authorial choice you could
00:13:00
talk about the comparison between this
00:13:03
is now
00:13:04
for her wearing the veil all frowns
00:13:08
she's not even in the picture to an
00:13:11
implied comparison
00:13:12
with what things were like before the
00:13:14
revolution when she was in a mixed
00:13:17
gender school look at the students
00:13:20
boys and girls together some smiles
00:13:23
some frowns but the placement of the
00:13:25
images invites that comparison
00:13:27
so that is a structural decision that
00:13:29
has to do with juxtaposition
00:13:32
she also uses this technique right here
00:13:34
it's called montage
00:13:35
that's when you combine many images into
00:13:39
one image
00:13:40
and create an effect
00:13:45
moving to the second page and we'll see
00:13:48
how many
00:13:48
i don't know how many i'll just keep
00:13:50
going for 45 minutes maybe i will
00:13:53
now where do i start 10
00:13:57
structure images panels
00:14:01
so sometimes she breaks things up with
00:14:03
little narrative sequences
00:14:05
so this one i've numbered one two three
00:14:08
four these are the only
00:14:12
images in which this man who is
00:14:15
apparently
00:14:16
a representation of the education
00:14:19
department
00:14:20
of the new fundamentalist
00:14:23
theocracy government and look at how
00:14:27
he's depicted
00:14:28
center center of the image
00:14:32
and in the center of the entire page
00:14:36
and then the close-up so and this tells
00:14:39
a little story
00:14:40
and then suddenly in 1980 moving through
00:14:43
the story
00:14:45
that's number 10. number
00:14:48
11. i've gotten at this a little bit
00:14:52
is notice where people
00:14:55
are in images so in this one where is he
00:14:57
framed so now i'm talking about visual
00:14:59
interpretation of visual analysis
00:15:02
the man is the central figure so who has
00:15:05
the authority and the power
00:15:06
in this moment how does this represent
00:15:08
this represents patriarchy
00:15:11
you go over there you go over there he's
00:15:13
in the center
00:15:14
he's in the power position look at how
00:15:15
he's even depicted above it's like
00:15:17
almost like he's floating in the air
00:15:19
okay so think about that being centered
00:15:22
being centered being centered
00:15:24
now look at margie's
00:15:27
mother here she is so now we have also
00:15:30
some this could be called perhaps
00:15:35
a juxtaposition or you can see both
00:15:37
images at the same time when you have
00:15:38
the book open
00:15:40
so there's something going on between
00:15:42
this image here
00:15:43
and these for sure because look how
00:15:45
powerful she looks
00:15:46
right in the center now is she in the
00:15:48
center
00:15:50
panel no because there isn't one on this
00:15:52
page that's a structural decision
00:15:54
but here she is in the center but look
00:15:57
she's off center you know so here we
00:15:59
have the man and the position of power
00:16:00
over here
00:16:01
if we're going to put like a big dot on
00:16:04
the center of the panel it's right there
00:16:06
but look where her face is framed as
00:16:07
she's looking in the mirror
00:16:10
in a not in the dominant position but
00:16:13
below
00:16:14
and to the left so what is that so what
00:16:17
do we call that
00:16:19
i would call that framing how the images
00:16:21
are framed
00:16:23
and then here's some other terms let's
00:16:24
see about 11
00:16:26
i have i think i'm going to skip
00:16:29
to 14. because i'm kind of talking
00:16:32
generally
00:16:32
about when we're talking about images
00:16:34
and their placements we're talking about
00:16:36
composition opposition balance contrast
00:16:40
symmetry division these are just
00:16:42
different terms you'd want to use to
00:16:43
talk about how the images are
00:16:45
composed this image is composed
00:16:48
to show opposition and contrast
00:16:52
it is also composed in a way that shows
00:16:54
division
00:16:56
is there symmetry somewhat there's
00:16:57
symmetry in that there's figures on the
00:16:59
left and figures on the right
00:17:00
is there symmetry in this image yes is
00:17:02
it important probably not
00:17:04
is there symmetry in this image yes is
00:17:06
it important yes
00:17:08
does it show division opposition balance
00:17:12
so contrast so i talked about a contrast
00:17:16
here
00:17:16
where we have the man on this page and
00:17:18
again this is when you open up the book
00:17:19
you can see both of these pages at the
00:17:21
same time
00:17:22
so that's one of the wonderful
00:17:23
complexities of this graphic narrative
00:17:25
form
00:17:26
is that you can read in a circle
00:17:29
you know you read you read the text you
00:17:30
read this way of course
00:17:32
but then you can like take in the
00:17:33
totality of it and the meaning
00:17:35
is still seeping from the page and i
00:17:38
think
00:17:39
i've got students on their way into my
00:17:41
classroom and so i will stop this video
00:17:43
at 17
00:17:43
minutes and 43 seconds to be continued
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