![]() Such cultural influences, globalisation, fragmentation and rhythm have influenced the comics and style of the West (McCloud, 1993).Īs sequences create an overriding identity on all images to consider them as a whole, comics rely on the aspect of closure, the mental completion of that which is incomplete based on past experience. Where Western art does not wander much and is goal-oriented, in the East there is a rich tradition of cyclical works of art and the idea of negative space being part of the work as much as the included elements. This creates a split with Eastern comics, which are more balanced in including all types of sequences and tend to be longer. Western style comics tend to be short and include mostly action, subject and scene sequences as they show things happening in concise and efficient ways. Comics are identified as an art of story-telling through their ability to portray human experiences either through words or pictures, or a combination in the form of word specific, image specific, duo specific, additive, parallel, montage or interdependent frames.Īs these frames are combined into a sequence they can include moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect and non-sequitur sequences. McCloud further narrows this definition to "juxtaposed pictorial and other images in deliberate sequence, intended to convey information or to produce an aesthetic response in the viewer" (1993, p.9). Graphic novels, or comics, contain what Will Eisner identified as sequential art, single images transformed into the art of comics as they are spatially juxtaposed (2008). This paper aims to answer the research question, how do the graphic novel as a storytelling medium and narrative beginnings function in constructing a transnational identity in Persepolis? Storytelling in graphic novels This is followed by an investigation of these phenomena and their meaning in Persepolis, analysing themes which focus on the protagonist’s experience such as cultural inequalities, the sense of alienation, existential crises and the meaning of language. To reveal the notions of transnational identities and leading narrative elements in Persepolis, this essay discusses storytelling, closure and visual emotion in comics and Catherine Romagnolo’s theory of narrative beginnings. ![]() Persepolis contains simple and striking black-and-white illustrations and textual content whose narrative identifies it as a product of globalisation. ![]() The fact that graphic novels are a "new literary art form comic books are what novels used to be – an accessible, vernacular form with mass appeal" adds to their status as an artistic medium (McGrath, 2004). The autobiography tells and mediates the story of Satrapi’s existence in Iran and Europe, an experience which defines her transnational identity. In order to gain understanding of the construction of such identities, this essay explores Marjane Satrapi’s graphic novel Persepolis. In a context of peoples in a globalising world, the existence of transnational cultures and identities is inevitable. ![]()
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