The+Arts

Knowledge Issues and discussion that arose in Year 12 IB SL Literature class, looking at the graphic novel, //Persepolis.//

The comic apologist Scott McCloud's main thesis regarding the use art (forgive the pun) of comic making is "amplification through simplification." What does this mean for truth? For instance what truths can be communicated in this way? What, if anything, is lost? Sophia Rhee: - overall image, and the background has been simplified, for instances the plain black background spotlights two characters. - eliminated details as we are focusing on the specific details, in this case the facial impression of two people. - The facial expression of the two characters show how they are worried, and depressed. - The emotion (WOK) can be shown through the gestures: The left side panel: the character rests chin on the hand, which shows how she is worrying or thinking really deep. The right side panel: two hands are held together Their bodies are not facing each other, they are against each other. This is magnified by the breaking into two panels giving each a sense of timelessness. Unlike with prose, we can go back and forth, or look at one panel at a time or both at the same time. - simple drawing of face: both characters have 45 degrees raised eyebrows, their lips are down(?), SAD, eyes are either half closed, or fully opened (scared) - in all instances, creates more iconic images, highlighting what is felt.

Does the reduction of an image to the iconic really help it achieve a level of universality? Is it easier for the iconic to enter into the realm of ideas? How does the relate to poetry and the notion of //the economy of language//.



Jing Ting: - The expressions on the visible faces have already been 'simplified' in order to 'amplify' the emotion that the individual is feeling. Only the key features that move to show emotions on a person are illustrated and these key features that are commonly used by the artist allow a universal knowledge on the emotion given off. The common interpretation of a downward bend of the eyebrows and eyes portray itself as a frown, usually shows distress, depression and sorrow. The dark coloured lips aid to show sadness and dejection as people know a straight and curving downward lips are no signs of joy. These iconic images do help in achieving a certain level of universality between people. Although the exact interpretation may vary, but the main idea of emotion that comes off from these iconic images are on par. Because these iconic's are universal, people of different races, language, culture and age will be able to share a common ground of ideas.



Jessica Cho: It's hard to distinguish the ethnic group of characters (human) portrayed in Persepolis by just looking at their appearance. Characters' appearances are simplified into iconic image. Their ethnic characteristics (e.g. skin colors) are simplified. Such iconic image grants more opportunity for readers to mask themselves in a character because simplified images create "universality." If the characters were drawn realistically without simplification, readers might feel completely different way after reading the cartoon due to lack of universality. Therefore, simplified (iconic) images increase the level of universality which delivers the purpose of Persepolis more efficiently.

Why does the human mind perceive in such a anthropomorphic manner?



How does the concept of closure relate to the written word and the narrative form? More generally, consider the relationship between language and perception in the graphic novel genre.

Sydney Hoskin: As explained by cartoonist McCloud, human beings are a "self centered race". We see ourselves in everything. Our mind automatically recognizes two dots, a line and a circle as a face, without giving us a choice in the matter. The term //gestalt// is applied here, the fact that our mind's eye creates an image that isn't really there. Like personification, we attatch emotions to things which lack any. In Marjane Satrapi's PERSEPOLIS, a graphic novel, she uses this cartooning strategy to portray a fire in a cinema which claims the lives of many innocent Irani and Persian civilians. The large panel on the bottom of page 15 of the graphic novel displays the scene of what is occuring inside the cinema as it is burning. People on fire are attemping to escape through blocked doors barricaded by fire. The very flames of the fire appear to be made from the enraged, angered spirits of those already consumed and dead. Fire lacks a body, emotions and a face, and yet here Marjane has chosen make the fire the embodiment of the incident's victims.



Joyce Siu: Without looking at the picture but only the caption, 'A long sleep of 2500 years' would be vague idea of a long time. However, with the picture, readers would be able to understand the concept more clearly. Just the size of the panel has already elongate the time that took place in the picture. Also, with people lying on the floor, and have the setting in the night, emphasized the idea of sleep and at the same time create the sense of stillness, where no movement and action took place, which gives the feeling that time was going slowly. In this case the picture plays the bigger role of sending out a message to the readers.