Chapter 1 - The Islamic Revolution began in 1978 and lasted until 1979. The Revolution began in order to stop the maltreatment of Iran. It occurred mostly in the Muslim part of Iran, but also had an effect on multiple different cultural beliefs. At the time of the revolution, Iran was constantly fighting for their freedom, as they struggled against imperialism and exploitation. Great Britain, Russia and the US all wished to control and influence Iran politics. In the panel to the left it demonstrates the anger Iranians had towards the revolution. It also shows the absence of veils which proves that this panel was prior to the Revolution.
(Satrapi 3) |
Chapter 2 - In this panel, the author uses a sheet, as a wall, in order to create an effect to differentiate the hallway from her parents room. Marji's parents are seen laying down in bed. To create this effect, Satrapi uses detail on the pillows to show the couple laying down. On the left side of the wall, Marji is seen slightly bending over listening to her parents conversation. This technique used by Satrapi conveys the idea that Marji was concerned about the environmental, as well as cultural problems that were happening at the time.
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Chapter 3 - During the time of the Islamic Revolution, the access to oil declined significantly. Country leaders greatly increased the price of oil in order to preserve as much as possible. Families who had a limited income were affected the most because they were unable to purchase gasoline. We can see in this panel that countries were attempting to get into contact with Persia, a country full of oil, and vulnerable to the power of other countries. The British wanted to be close to those in Persia because they wanted to influence their culture, and become rich.
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Chapter 4 - In this panel, the author Satrapi uses a caption to explain what will happen throughout the panel. It mentions how families were so poor and that they boiled water to pretend as thought hey were cookies. The woman hovering over the pan carries out the caption. Satrapi also uses text bubbles to show the conversation between siblings. Not only does he use text bubbles, but also thought bubbles which have a symbol to express how the young boy was feeling. In the image we can see these two images separated, yet still under the same caption in order to further display the correlation between the two.
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Chapter 5 - This panel demonstrates children in Kurdish families being forced to work at young ages. The lack of income eventually forced children to work as maids, cleaning car windows, carpet weavers, and even porters, beginning as young as age 3. Forms of birth control weren't around as much at this time period, which contributes to the reason why these large families were often struggling in terms of money. This panel shows the sadness on the child's face having being separated from her family. On the other side, the parents are found smiling because they know that at least one of their children will be taken care of. Marji's mother looks upset as well, but reinforces the family that their daughter will be properly cared for, because she understand the circumstances in which they live.
(Satrapi 34) |
Chapter 6 - This panel shows the shah leaving his position. On the left, we can see those who are described in the caption, wanting the king to depart. Satrapi neglects to use text bubbles for these specific people, possibly to show the hatred all 3 of them felt towards the Shah. In the middle of the panel, we see the "MILITARY??" saluting, yet with a poor image on their face. As a reader, this gives me the impression that they were disappointed and scared to endure the possibilities that could occur without the Shah.
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Chapter 7 - This panel has many elements in which directly affect the comprehension of the text. Satrapi uses a header which illustrates the consequences of the context in the panel. In the panel, the author uses an emanata, the lines behind the girls back, to demonstrate the girl running away from Marji. This enables us to believe that the girl was sad and upset, which is also identified through the authors use of a text bubble, illustrating words of frustration. The caption on the bottom of the panel allow us to see the consequences of the behavior throughout the panel.
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Chapter 8 - The images in this panel directly emphasize the caption. In the caption, it's made clear that Anoosh often dreamed about his lost family and his past country. It expresses the loneliness Anoosh felt, and is highlighted in the picture when he is seen sleeping alone. Anoosh is surround by emanatas incorporated by Satrapi. These emanatas are swirls surrounding various people in which Anoosh missed. These emanatas enforce the idea that Anoosh was dreaming, and reflects the ideas presented in the caption.
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Chapter 9 - This panel has many aspects in which the author incorporated to create different effects. One element Satrapi used was a caption. This caption explain to the readers the context of the panel, which help us to understand the other elements we see. The lines near the characters hands are called an emanata, which is another element affecting the panel. These lines are used to create a waving affect, symolizing distance and separation between family members. Another emanata we notice in the panel are the tears near Marji's head. These too portray sadness and exhibit feelings.
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Chapter 10 - The header in this panel gives us an idea of what the panel will discuss. The speech bubble coming from the T.V discusses a government decision that will affect women as a whole. Satrapi used this text bubble as a chance to foreshadow future effects. At the time, wearing veils were not mandatory, as we can see by observing Marji and her mother. However, the text bubble allows us as readers to picture the changes that could (and eventually did) occur.
(Satrapi 74) |
Chapter 11 - This panel was used to display students in class during the time of revolution. Satrapi uses the header to express what the panel will obtain. At the time, Marji knew all about the war not only because she read about it and studied it, but also because she lived through it. If a student during our current generation were to be asked to write about the war it would be much harder, due to the fact we weren't exposed to it, or effected in any way. Satrapi is sure to have the young girls wearing their veils, almost to show the effect that the war had on them prior to them having to write about it. Not only that, but the author also includes solely women in this panel, almost showing the separation between genders.
(Satrapi 85) |
Chapter 12 - The caption of this has a large effect on the panel overall. It discusses how Marji and her family spent time at a family/friend members house. However, the house is no longer in their possession due to the Islamic Revolution which lead to many harmful situations. In the panel, one text bubble mentions the pricing of the marble. Being able to see how much the marble cost displays a large difference since the Islamic Revolution began. After the Islamic Revolution began, families began to have less and less money, which forced many families to go without food, or even to have their children begin working at young ages. Another important aspect of this panel are the images alone. We can see women laying on beach towels and relaxing all while in bathing suits. The women are not wearing veils, and are showing skin. This allows us as readers to see the cultural aspects that changed after the Islamic Revolution.
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Chapter 13 - Satrapi uses irony in this panel when discussing the basis of school. At this time, many families were leaving Iran in order to escape religious pressures and to escape the Islamic Revolution. Many of these religious pressures were forced upon students by school administration, which caused the parents to form hatred towards the schools. These parents believed in freedom and choosing in what they personally wanted and believed in. The caption admits that the students were used to secular schools, meaning being able to choose their own religion without it being pushed on them.
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Chapter 14 - There are many interesting aspects of this panel in which could be discussed. First, on the right hand side we can see just a glimpse of the derogatory language which was often used against women. Even though the woman was showing respect by saying things such as "excuse me," and "sir," the police continued to shame her. In the panel, notice the man and woman wearing black, while the police wear white. Satrapi could have used this technique in order to differentiate "good vs bad." The caption explains how the items the couple possessed were banned, which labels them as the "faulty." On the other hand, police are supposed to protect people and promote good behavior, which could explain them wearing white in the panel.
(Satrapi 105) |
Chapter 15 - In this panel, Satrapi uses an emanata to show the man splashing in the mud/dirt. This could give us the impression that it possibly just rained, resulting in the dirt turning into mud. Towards the bottom of the panel, there are question marks surround the women's heads'. Even though readers can't see the women's faces, the question marks allow us to understand the confusion these women felt.
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Chapter 16 - During this time it was common for families to separate. In the caption of the panel, it explains how the borders were closed, which made it 10 times harder for families to reconnect. This separation left many families, friends, and people in general lonely because they couldn't be surrounded by those they loved. Often time, once a family separated they couldn't even get in contact with one another which made the separation even harder. Anoosh explain his sadness in his text bubble, which is reflected in the image of him smoking a cigarette. The emanata used by Satrapi reinforces the idea that the cigarette was lit.
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Chapter 17 - The text bubble in this pannel shows the distress that Marji was in. The text bubble has ridges around it differentiating it from someone talking normal. Satrapi used an emanata, which were the tears, to emphasize the sadness that Marji was pretending to have. The caption of the panel explains the effect of what happened in the panel. In the panel the woman looks angry and like she doesn't believe Marji, but the caption expresses otherwise.
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Chapter 18 -
The caption of this panel expresses a big factor of the problems occurring during the time of the Islamic Revolution. Since the value of currency massively decreased, this made it even harder for families to afford things the wanted and needed. On the left, Marji's mother has her head down, and looks disappointed. Personally, I believe Satrapi formed Marji's mother this way to express the sadness parents often felt when asked for money. Even though Marji's mother has little money, she still got into her purse to give Marji the money she wanted. Satrapi displayed the selflessness that these parents obtained during this time in order to give their children the best that they could. (Satrapi 138) |
Chapter 19 - This panel is one of the saddest, personally. It expresses parents sending off their child, in order for them to escape the dangers that were occurring. Unfortunately, children being separated from their parents at this time was not unusual. The caption of the panel explains how saying goodbye is the worst thing to happen, which Satrapi emphasizes when Marji states "Go on. Go on." The parents on the left are behind a glass, smiling and waving goodbye to Marji. Although the parents are sad their daughter is leaving, I believe Satrapi narrated them as happy because they were glad their daughter would be safe. Satrapi also uses an emanata in the panel around Marji's hands. This emanata emphasizes Marji saying goodbye to her parents.
(Satrapi 153) |