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Frames and Mirrors in Marjane Satrapi's Persepolis

Author(s): Babak ElahiSource: symplok, Vol. 15, No. 1/2, Cinema without Borders (2007), pp. 312-325Published by: University of Nebraska PressStable URL: http://www.jstor.org/stable/40550774Accessed: 10-06-2016 08:33 UTC

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FRAMES AND MIRRORS

IN MARJANE SATRAPl'S

PERSEPOLIS

Babak Elahi

Marjane Satrapi explains in an interview in Bitch magazine that

Today, it's important more than ever that people know: what is

this "axis of evil"? You are completely reduced to a very

abstract notion. But the 70 million people [of Iran] are human

beings, they are not an abstract notion. They are individuals

with life, love, hopes. Their life is worth the life of anybody

else in the whole world. (Wood 55)

Indeed, as Edward Said suggests in Culture and Imperialism, the writing

of empire - in the literature of the colonizer - involves "the intellectual

will to please power in public, to tell it what it wants to hear, to say to it

that it could go ahead and kill, bomb, and destroy, since what would be

being attacked was really negligible, brittle, with no relationship to

books, ideas, cultures and no relationship either, it gently suggests, to

real people" (298). This intellectual will to please power produces what

Said, using the structuralist terms of Kenneth Burke, calls "frameworks

of acceptance," a whole way of seeing the world that has "for decades in

America produced a cultural war against the Arabs and Islam:

appalling racist caricatures of Arabs and Muslims suggest that they are

all either terrorists or sheikhs, and that the region is a large arid slum, fit

only for profit or war" (301). Frameworks of acceptance, then, divide the

abstraction of identity into polarities of good and evil, and it is to this

kind of framing that Satrapi attempts to respond. While Satrapi wrote

her comic-book memoir, Persepolis, before George W. Bush coined the

phrase "axis of evil," she has expressed in a number of interviews1 as

well as in the introduction to Persepolis that she wrote her book in

response to one-dimensional representations of Iran as a terrorist nation.

In response to this ideological framing of Iran, Satrapi reframes its

^e, for example, Tara Bahrampour's New York Times interview.

symplok Vol. 15, Nos. 1-2 (2007) ISSN 1069-0697, 312-325.


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symploke 313

people as " individuals with life, love, hopes." Since Satrapi works in the

graphic novel form, we might consider the ways in which frameworks of

acceptance work in relation to the literal pictorial framing of the comic

art panel. In what follows, I want to connect social science theories of

framing with sequential-art theories of framing, and to subject both of

these to critical theoretical models of ideological interpellation as a frame

structure in order to understand how Satrapi' s book reframes Iran and

reconstructs Iranian subjectivity. Satrapi uses the frame of the comic

panel to redirect the gaze of Western European and North American

readers toward the individual life and the complex identity of her own

narrative and autobiographical persona. At the heart of this process of

reframing is Satrapi's use of mirrors as a motif that doubly frames the

self and allows for a deconstruction and reconstruction of Iranians as

individuals who matter.

Framing

Social scientists Alex Mintz and Steven B. Redd claim that political

leaders set foreign policy agendas through various forms of framing,

including what they call thematic and sequential framing. They give

examples such as Ronald Reagan's framing of the Soviet Union as the

"Evil Empire," George H. W. Bush's framing of Saddam Hussein as

Hitler, and the framing of the war in Afghanistan (by Laura Bush and

Donald Rumsfeld) as the liberation of the women of Afghanistan. We

may wish to add to Mintz and Redd's list something they do not

mention: George W. Bush's framing of Iraq, Iran, and Korea within the

rhetorical structure of the axis of evil. Mintz and Redd call this

political marketing in which a potentially unacceptable course of

action - invading Iraq, for example - is repeatedly framed through the

same rhetorical structure before, during, and after the course of action is

taken. Though Mintz and Redd don't mention them in their study,

we might recall phrases such as "WMD" and the "axis of evil" as

frames used to guide popular thinking and policy decisions with regard

to Iraq.

Another point I would add to Mintz and Redd's analysis is that this

process of framing takes an issue out of the flow of historical events,

framing them within thematic, structural, or other frames of political

vision. These ideological frames - as they are produced within dis-

courses of political, bureaucratic, or journalistic expertise - tend to draw

attention away from themselves, naturalizing themselves as "common

sense," "liberal humanism," or "objectivity." By contrast, while comic

art does not necessarily draw attention to its own framing mechanism,

neither does it try to conceal it. Unlike film, for example, in which


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314 Babak Elahi Frames and Mirrors

frames are made to vanish in the flow of projection, comic art uses the

visible frame as part of its aesthetic, cognitive, and narrative form.

Furthermore, it uses these frames to present a segmented flow that can

lend itself to a re-historicizing of what ideological frames would take out

of the flow of history. It is precisely this segmented flow of the pictorial

image in graphic novels - their ability to frame time - that has at least the

potential to restore the historical flow of experience back into the

abstract, ahistoricizing ideological frame. In this sense, comic art can

potentially challenge those modes of political or aesthetic representation

that naturalize their own worldviews by erasing or obscuring their own

frames. Graphic memoir- in the tradition of Will Eisner and Art

Spiegelman, and now in the work of Marjane Satrapi- can negotiate

identity in a way that explicitly questions existing forms of ideological

and psychosocial framing. This is not to say that comic art is non-

ideological. Rather, it is to suggest that the conscious use of pictorial

panels can expose and thus deconstruct the ideological frame.

In Understanding Comics, Scott McCloud points out the importance of

framing in laying out temporal relationships. For McCloud, the

segmented panels of a comic book or graphic novel transform temporal

relationships into spatial ones. In this way, panels within the comic book

create what McCloud calls "a frame of mind" for the reader. Similarly,

Will Eisner, in Comics and Sequential Art, claims that the "artist, to be

successful on this non-verbal level, must take into consideration both the

commonality of human experience and the phenomenon of our

perception of it, which seems to consist of frames or episodes" (38).

Eisner explains:

[the] sequential artist "sees" for the reader because it is inherent

to narrative art that the requirement on the viewer is not so

much analysis as recognition. The task then is to arrange the

sequence of events (or pictures) so as to bridge the gaps in

action .... In visual narration the task of the author/ artist is

to record a continued flow of experience and show it as it may

be seen from the reader's eyes. This is done by arbitrarily

breaking up the flow of uninterrupted experience into

segments of "frozen" scenes and enclosing them by a frame or

panel. (38-39, emphasis added)

Eisner's emphasis here is on the segmenting and framing of the flow of

experience, just as McCloud' s is on the framing of time- time frames.

But both conclude with a broader notion that this segmenting of time

provides a frame of mind, as McCloud puts it, or performs the task of

seeing for the reader as Eisner has it. In this sense, then, pictorial

framing can be related to ideological framing - the filtering of

information, of news, of time, of identities, of nationality and gender -


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symplok 315

through templates, through structures of feeling that produce

predetermined judgments of value or narrativized translations of

experience. Both political framing and sequential-art framing aim at

recognition, not analysis. While comic art depends on framing in this

cognitive way, it does not necessarily, but can, point to its own apparatus

of framing. Ideally, the reader of a graphic novel is meant to disappear

into the flow of frames just as surely as the reader of a popular novel is

meant to disappear into the flow of the plot. However, occasionally,

comics draw attention to their own frame-bound nature.

As if to emphasize the importance of framing, for example, Satrapi

often uses frames within frames. Early in Persepolis 2, she represents her

own autobiographical persona in a photo of herself with her Austrian

friend, Lucia. The illustration of the photograph is framed by a picture

frame presented as a gift to Marjane by Lucia's father {Persepolis 2 18).

The frame of the panel encloses the secondary frame of the picture. This

doubly framed image of the self forces the reader to see Marji not only as

an individual but almost as a sister to Lucia - a member of an Austrian

family, flanked by her Austrian sisters, and framed by a present given to

her by their Austrian father. Like the work of Algerian cartoonist Kaci,

Satrapi frames or re-frames the individual life by literally using the

picture frame. One of Kaci's cartoons is a series of framed portraits -

complete with nail and wire showing the pictures hanging on a wall.

The portraits show an Algerian woman, first as a little girl in pigtails,

then as a schoolgirl in a headscarf, next as a uniformed soldier with a

machinegun, and finally as a mother in full hijab holding a baby

(Douglas and Malti-Douglas 186). What Satrapi's framed self also does is

function as mirror. In addition to the frame around the photo, the panel

described above also shows Marji' s hands holding the framed

photograph, making us see the snapshot from her point of view. This

forces any reader - including any "Western" reader - to identify with

Marji, with her gaze upon herself. This kind of mirroring functions both

at the abstract ideological level and at the pictorial level in Persepolis. In

using a motif of more literal mirrors (which I shall discuss in the last

section of this essay), Satrapi forces her readers first to see Marjane (her

autobiographical persona) as a complex individual in search of an

identity, and, secondly, to identify with this complex individual by

seeing her through the frame of the comic book narrative and its panels.

Most importantly, this identification is accomplished not by erasing the

mechanism of framing, but by exposing it through the use of picture

frames and mirrors.


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Ref ranting Ideology

Louis Althusser's theory of ideological interpellation includes a

figure that involves both framing and reflection: what he calls a mirror-

structure. In his landmark essay "Ideological State Apparatuses,"

Althusser illustrates the power of the state to recruit subjects through an

example strikingly similar to a scene Satrapi depicts in a three-panel

sequence of her comic book in which the autobiographical hero is hailed

by Islamic morality police. In discussing the way Christian religious

ideology recruits its members, Althusser says that "the structure of all

ideology, interpellating individuals as subjects in the name of a Unique

and Absolute Subject is speculari/, i.e., a mirror-structure, and doubly

speculary: this mirror duplication is constitutive of ideology and ensures

its function" (180, emphasis in the original). In Persepolis 2, Satrapi

depicts the framing of identity in terms that mimic almost exactly

Althusser's model of ideological interpellation.

Althusser writes that he has taken an instantaneous event and

divided it into a sequence (much in the same way that Will Eisner's

comic-book artist uses panels to frame time):

for the convenience and clarity of my little theoretical theatre I

have had to present things in the form of a sequence, with a

before and an after, and thus in the form of a temporal

succession .... But in reality these things happen without any

succession. The existence of ideology and the hailing or

interpellation of individuals as subjects are one and the same

thing. 174)

Althusser's sequentially framed "theoretical theatre" involves a simple

and vivid verbal illustration. He describes "the most commonplace

everyday police . . . hailing" in which the policeman's "Hey, you there "

demands the "one-hundred-and-eighty-degree" physical conversion,"

the recruitment of the concrete individual as concrete subject of the state

(174). In this example, the framing device of the mirror, or at least of a

reflection, becomes important: "God is thus the Subject, and Moses and

the innumerable subjects of God's people, the Subject's interlocutors-

interpellators: his mirrors, his reflections" (179).

Satrapi depicts a literal instance of Althusser's theoretical illustration

(Persepolis 2 147). A sequence of three panels depicts Marjene being

literally hailed by the morality police ("Hey -blue coat. Stop running ").

Thought bubbles indicate Marjane's anxiety and confusion. The three

panels culminate in the last image with a mirror-like thought-bubble that

frames Marji's identity as the subject of an Islamic ideological state

apparatus. Inside the frame of the thought-bubble in the last of these

three sequenced panels, Marjane's imagined specular self looks back,


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symplok 317

finger pointing to her chest, asking, "Me?" It is almost as if Satrapi were

providing a visual aid for teaching Althusser's concept of ideological

interpellation. This calling out of Marjane in the street by one of the

morality police - the komitehs that enforce moral religious codes -

performs the State-sanctioned recruitment of subjects.

But Satrapi describes a physical event occurring in time, while

Althusser describes cognitive events that "happen without any suc-

cession." He uses the voice of the policeman calling out to the individual

as a metaphor for what happens when the nuclear family, schools, legal

institutions, the church, and other ideological apparatuses offer

individuals normative identities within structures of power. How is the

physical event in Persepolis - actually being hailed by a repressive

policing institution- related to other forms of interpellation? In

Persepolis, other kinds of interpellation function to frame and reflect the

autobiographical subject's identity. The moment when Marji is hailed by

the policeman is, certainly, literal. However, it also works as a synec-

doche, standing in for the wider forms of repressive interpellation at

work in the Islamic Republic of Iran. Indeed, Althusser's notion of

"State" may apply more directly to the Islamic Republic than to secular

European or North American states because of Althusser's use of

"Christian Religious Ideology" as his emblematic illustration of

ideological state apparatuses.

However, Satrapi's Persepolis also explores other kinds of inter-

pellation, those coming out of North American and Western Europe and

reaching into Iran outside of State sanction. Althusser's model has been

criticized by Stuart Hall (1985) and others as too narrowly focused on the

state and as not accounting adequately for civil (private and corporate)

ideological apparatuses. By focusing too narrowly on the state, Althusser

limits our understanding of the much more fluid - as opposed to

structural - ways in which private corporate and institutional power

function in advertising, modes of consumption, and culture in "Western"

industrialized and post-industrial societies. Despite attempting to revise

the traditional Marxist distinction between base and superstructure,

Althusser remains bound by a theoretical model that proceeds from the

political-economic base and sees culture as its superstructural mani-

festation. In looking at how globalized European and American

consumer cultures interpellate Marjane in Satrapi's book, we can

complicate the picture a bit.

For example, in Persepolis, Satrapi describes her adolescent adoption

of punk style and new-wave European and American music. In one

anecdote, she describes her infatuation with Kim Wilde as 1980s music

icon. One image in particular shows how the culture of capital also

interpellates subjectivity through a more fluid reflection. Marjane gazes


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at a poster of Kim Wilde and strikes a pose as if looking into a mirror.

The poster is tilted at an angle, and Marji's leaning body mirrors that

angle within the panel (Persepolis 131). The poster, as frame within the

frame, reflects back Marji's fantasy of "Western" cultural or counter-

cultural identity in the image of Kim Wilde whose song "We're the Kids

in America" becomes an anthem for young Iranians who feel stifled by

the Iranian regime's limits on personal style. Satrapi depicts her young

self as performing identity through bricolage, appropriation, borrowing,

and mixture of European and North American styles. While state

structures of interpellation are pedagogical while civil forms of

interpellation are performative, both function as frames and mirrors of

the self, both construct lived fictions of identity.

Placing Marjane's ideologically hailed Islamic identity alongside her

mimicry of Western cultural and commercial (though potentially

counter-cultural) identity, we arrive at the heart of this narrative: the

attempt to piece together a divided identity, a fragmented subjectivity, a

subjectivity that is split not between some absolute and essential "West"

and some monolithic Islam, but between self-consciously iconic and

ideological images of Western and Islamic worldviews. Satrapi presents

one panel as an ironic icon early in her two books {Persepolis 6). The

image divides the panel into two halves. On the left, Marjane's hair is

showing, free of hijab, before a backdrop decorated with gears and

wheels, a hammer, and a ruler. On the right, Marjane is appropriately

dressed in a chador, the backdrop decorated with ornate Persian designs.

This is one of the simplest and most straightforward instances of

framing within Satrapi's work. In it, we see a dichotomy between

tradition on the right, and science and technology on the left. But the

two sides of this dichotomy become more and more difficult to keep

apart, especially once Marjane goes to Europe in Persepolis 2 to find

traditions as rigid as those of Iran. The dichotomy creates a dilemma in

which the autobiographical persona must construct subjective wholeness

out of abstract divisions and fragments of self. She attempts to resolve

this dilemma in large part through her use of the mirror as a doubly

framing motif, bringing her face to face with the competing claims on

identity made not by "Western culture" and a monolithic "Islamic

ideology," but the competing claims presented by familial, educational,

religious, and sexual aspects of Marjane's life.

Mirrors

At the end of the first volume of Persepolis, Satrapi lays out the most

important psychological instance of a mirror frame when she describes


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symplok 319

Marji's separation from her grandmother. The grandmother tells her to

be true to herself:

In life you'll meet a lot of jerks. If they hurt you, tell yourself

that it's because they're stupid. That will help keep you from

reacting to their cruelty. Because there is nothing worse than

bitterness and vengeance .... Always keep your dignity and

be true to yourself.

The panel in which this statement appears shows Marji in her

grandmother's bed wrapped in her warm embrace. In connection with

this advice from the family matriarch about the jerks she is bound to

meet through her life, Satrapi presents an almost Proustian motif - the

smell of her grandmother's body: "I smelled my Grandma's bosom. It

smelled good. I'll never forget that smell." We might read this in

Lacanian terms, as a pre-linguistic or extra-linguistic formation of

subjectivity. But the Lacanian model may be too limiting because the

pre-linguistic image he emphasizes is still, nonetheless, visual. What

Satrapi presents in Marji's matriarchal embrace is an imaginary

formation of identity through senses other than the visual. The contrast

between Marji's bodily connection to the ample home of her grand-

mother's embrace and the narrow and fragmenting exile of adulthood is

most striking presented in another image in which the grown-up

Marjane tells her reflection "I will always be true to myself" (Persepolis

151). In this image, Marjane looks into her bathroom mirror, her

reflection half-obscured by the back of her head, her eye registering an

emotion between surprise and anxiety.

Althusser's discussion of the mirror-structure of ideological subject

formation bears the influence of Lacan' s discussion of how a basically

fragmentary subject is made whole through the child's response to her

own specular image within the frame of the mirror. The drama of the

mirror stage moves the individual subject from a sense of insufficiency to

that of anticipation. The sense of not being whole is replaced by a sense

of completeness. To make Lacan's theoretical discussion a bit more

concrete and clear, we might think of how art historian Anne Hollander

describes the function of the mirror in myth and painting. Hollander

writes that the mirror is "a glassy surface and empty frame [that] lie in

wait for the self-portrait that is to be re-created at each reciprocal view of

the artist and his captive subject," and that the "mirror is the personal

link between the human subject and its representation" (391). And,

Hollander explains, while the mirror is sometimes used for certain kinds

of objective evidence about the body - shaving, plucking eyebrows,

etc. - it is most often a device for producing a flattering and self-

deceptive image of the subject. Looking at oneself in the mirror "is at

best an exercise in art, at worst one in self-deception- or at the very


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worst, perhaps a path to death and damnation" (393). In this sense,

mirroring is like ideological framing in that it takes the self out of its

social context, and it is like sequential-art framing in that it encourages

(mis) recognition (flattering self-deception) more than it allows for

analysis (objective evidence). The contrast in Persepolis is not only

between a pre-linguistic visual reflection of the self and an adult

linguistic reflection, but a non-visual bodily and sensory reflection of the

self in the matriarchal other, and the visual and exilic reflection of the self

outside the home and the nation.

Taking these discussions of ideology as mirror-structure (Althusser)

or performative reflection (Hall), of subjectivity as being formed through

a mirror-stage (Lacan), and the mirror's pictorial and artistic construction

of a false sense of one's looks (Hollander), it becomes clear in looking at

Satrapi's uses of the mirror as a secondary frame within the comic panel

that Persepolis narrates a problematic development of identity, one which

is agonistic and remains largely unresolved for Marjane as autobiog-

raphical persona. The first instance of the mirror as frame is not a

picture of Marjane herself, but a picture of her mother- with her hair

dyed blonde. She looks back into a bathroom mirror, her mouth in the

curve of a frown, her eyebrows slanted in an expression of worry

(Persepolis 5). Marji's mother has already been framed by Pahlavi-

controlled newspapers, one of which prints a photograph of her

demonstrating in the streets of Tehran (5). Marjane not only reframes

this image of her mother as the picture of a hero, she also connects it

with the more complex image of her mother with blonde hair frowning

at her own reflection. The image of the mother as blonde and her

anxiety about being a revolutionary point to the complex and conflicted

ways in which identities are constructed by ourselves and by others. We

see the mother through the institutional gaze of the newspaper, through

her daughter's refraining of that identity, and through the mother's own

anguished feelings of fear and uncertainty as she is reflected back in a

bathroom mirror, her hair lightened to disguise her chosen identity as

dissenter and her imposed identity as subversive.

This image sets the stage for almost every other framed mirror image

that Satrapi presents of herself as a child and young adult. In most of

them, Marjane's identity - like her mother's in this image - is in doubt in

some way. Here, the mother's fear about political retribution leads her

to disguise her identity. In practically every mirror reflection of herself,

Marjane, like her mother in this image, is frowning or even crying. The

mirror does not function as a reflection of the specular image of the

whole and unified self, something she could only feel when embraced by

her grandmother and not looking in a mirror, but neither does it

completely deceive Marjane. Rather, as Hollander suggests about mir-

roring in general, each view swings back and forth for Marjane between


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sym plok 321

an exercise in art - mimicry of some kind - and a feeling of possible

damnation, between the performance of self and the subjection and

subjugation of self. Furthermore, in each one, the face reflected back is

partially hidden, as if to suggest the continuing fragmentation or incom-

pleteness of self. And, finally, the last mirror image depicts mother and

daughter embracing, as if to return to this first image and restore

Marjane to a basic psychological sense of identity and home in the arms

of her mother, substituting for that grandmotherly embrace of her

childhood.

In one early mirror image, Satrapi describes her childhood encounter

with two opposed conceptions of the world - one religious and the other

Marxist. After beginning to lose faith in God - who she imagines in the

likeness of Karl Marx - Marjane puts on a cap, stands in front of the

mirror, and pretends first to be Che Guevarra, and then Fidel Castro,

important revolutionary icons for the Iranian left in the 1970s. The image

of Marjene standing in front of a mirror and pretending to be Fidel, like

the image of Marjane's mother, depicts an ambiguity or uncertainty

about self, especially since in the second of this two-panel sequence, she

turns toward the reader and frowns (16). In the second panel, the face in

the mirror is entirely hidden, as Marji's reflected image looks into the

deep emptiness of the mirror's interior, into the annihilation of the

looking-glass world. Marjane looks at the reader but addresses an

absent God, asking "Where are you?" Her reflection remains mute with

its back turned to us. This suggests, perhaps, a frag-mentation of the self

into the speaking subject in search of ontological grounding in a reflected

ideal and the silent or silenced other who turns her back on any such

possibility.

In another image in which the self is framed within a mirror,

Marjane recalls having heard about the tortures inflicted upon Iranian

leftists by the shah's secret police. She recalls coming up with her own

playground tortures that she inflicts upon her playfellows. She looks in

the mirror to see a devilish version of herself looking back: imagined

horns sticking out of her head, a wicked grin on her face. Again, as with

the previous example, this is a two-panel sequence with Marji turned

around to face the reader in the second, narrower, almost claustrophobic

panel, and, again, a half-obscured reflection turns her back on us to look

into the depths of the mirror. Marjane has gone through the looking

glass while Satrapi the author has stepped out of the narrative frame to

express to us her sense of guilt and self -recrimination. Thus, the framing

of the mirror-frame within the panel often functions to represent the

subject's sense of fragmentation.

When Satrapi retells the story of a visit to her uncle in prison, she

presents an image in which her self is fully visible in the mirror.

However, her words suggest an uncertainty about identity. Marjane


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asks her mother, "Do you think I'm dressed nicely enough?" (68). This

suggests a tenuous sense of self marked by historical events and political

conflicts that threaten to destroy one of Marji's most important sources

of identity and agency - the mirror she finds in her uncle whose face she

frames with a sun-image - a classic Zoroastrian icon representing Ahura

Mazda, the deity of light, wisdom, and goodness (54). In imagining

herself in relation to this idealized image of her uncle, Marjane registers

a sense of inadequacy. Again, the point here is that mirrors function in

Persepolis as sites of subjective fragmentation, instability, and uncer-

tainty.

In Persepolis 2, Marjane turns to the mirror just before she goes to

pick up her mother at the airport in Austria. Again, like her uncertainty

about her clothed reflection in the previous example, Marjane is uncer-

tain about how she will look to her mother. Also, this example brings us

back to the importance of the mother as a key figure in the authorial

persona's sense of self. The mother's absence and years of change

threaten not only their relationship with each other, but also each ones

relationship with her self. Like her childhood anxiety about looking pre-

sentable enough for a visit to her uncle in prison, here too, she is con-

cerned with how her own mother will perceive her: "I made myself as

beautiful as I could before going to meet her at the airport" (Persepolis 2

46). She thinks this as she looks back at a three-quarter image of herself

reflected in a hall mirror. At the end of her stay in Austria, just as she is

about to leave for Iran, Marjane reflects on the complexity of her own

desire for freedom and individual identity. But her desire to go home

and her need for the familiarity of national and familial belonging drive

her to readopt the hejab and to look in the mirror literally and figure-

atively, in another image that harks back to her mother's worried and

divided gaze into the mirror. Though we do see her full face in the

looking glass this time, it is a face that is, yet again, frowning, lined with

worry (specifically, curved lines under the eyes), and whose thoughts

betray a new uncertainty about her own motivations. Satrapi' s authorial

voice comes in to say: "so much for my individual and social liberties . . .

I needed so badly to go home" (91). Once in Iran, Marjane finds it

difficult to negotiate through the rules governing hejab and gendered

identity. In another scene, she diverts the attention of a moral guidance

committee away from herself- her make-up, her less-than-perfect

hejab- by falsely incriminating a young man sitting nearby, and telling

the authorities that he had been ogling her. The morality police arrest

him, and, though she doesn't know what happens, she suspects they

punish him physically. Upon returning home, Marjane is reprimanded

by her grandmother, the same grandmother who had told her to be true

to herself. "My grandmother yelled at me for the first time in my life."

This is a lapse in her attempt to be true to that self, and again, this


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symplok 323

uncertainty is depicted in a mirrored, framed reflection: Marji's face is

flattened because of the angle of vsion. The style of Satrapi's work is

already flat, and, paradoxically, this further flattening is an attempt to

represent perspective (137). The flattening out suggests the superficiality

of what she has done, her shallowness. However, at the same time, the

simulated three-dimensionality suggests a kind of emotional depth: the

loss of her grandmother's approval provides the impetus for her, in fact,

to work towards the ideal self, a self imagined for her by her grand-

mother, her uncle, her mother, and her father (137).

Marriage - as a peculiarly modern Iranian institution - presents

another dilemma for the protagonist's reconstruction of identity, and

again mirrors function to represent the problems of identity formation.

Marjane's attempt to negotiate a public identity as a properly veiled and

modest woman, and a semi-private identity as worldly are brought into

conflict when she is about to be married. Here, she begins to manipulate

her physical look- clothes, make-up, exercise. But she is as uncertain as

ever. She describes being taken by her friends to a salon called

"Wedding Hairdos." One panel gives a frontal view of a hair salon

mirror. Reflected back is Marjane and her hairdresser, whose hair is dyed

blonde, whose wrinkles indicate her middle age, and who is leaning over

displaying ample cleavage. Marji, her hair in an overly adorned frame of

curls, looks back with surprise and shock into the mirror (161). The

whole process of matrimony seems disconnected from naturalized

notions of love, fidelity, and the formation of identities around a nuclear

family. Marjane wants to live with Reza before marrying him (158). But

the only way the two can live with each other is to be married first.

Furthermore, after their marriage, Marjane realizes that her identity is

not permanent, and in a two-panel sequence, she compares the woman

Reza married (Marjane smiling brightly with long hair, wearing make up

and a short dress with lace trim, sitting in front of a window overlooking

a garden with birds) with the woman he found himself living with

(Marjane frowning, smoking a cigarette, dressed in black pants and shirt,

sitting in front of a dark window at night) (164). Thus, the process of

getting married, even for a young woman with enlightened parents,

involves the construction of a self that is hardly recognizable. Again, the

young fiancee's misrecognition of herself is most strikingly registered in

the image of herself looking in the mirror, not knowing what to think.

Finally, the last mirror-image in Persepolis 2 depicts Marjane hugging

her mother. She has just received her mother's reluctant blessing on her

marriage. She does eventually divorce, proving her mother right, but the

embrace in this scene represents the mother's acknowledgement not of

the marriage but of her daughter's adulthood and independent agency.

Paradoxically, this acknowledgement of independence is represented by

an image that underscores subjective inter-dependence. In this image, it


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is as if the mother's and the daughter's faces complete each other. In the

foreground, in the initial frame of the comic panel, we see the mother's

face - her hair dyed as in the first image of her we saw reflected in a

mirror. In the mirror - the secondary frame within the frame - we see

Marjane's face in profile. It is in this image that Marjane begins to find a

sense of self. A speech bubble shows Marjane saying, "My sweet little

mom Trust me, I know what I'm doing" (163). But, as I have said, this

journey is incomplete, and we are left with a sense that Marjane is still in

the process of becoming a complete subject - perhaps like all of us -

rather than already being a complete subject, whether recruited ideo-

logically by the state or existing in some pure and essential sense of self.

Frames vs. Frames

As Satrapi contains the ideological frames of Iranian and Western

misrepresentations of Iran into her own pictorial frames, she is not

replacing these iconic and stereotypical frames of Western media and

Iranian political discourse with "true," accurate, or ideologically neutral

realities. Rather, she is producing a dialectical relationship between her

own iconic images and frames, and the stereotypes and propaganda of

both Iran, and Western Europe and the US. In his study of comics and

ideology, Martin Barker has suggested that it is too simplistic to dismiss

comics or any other iconic framing device (such as television) as

stereotype: a bad and irrational way of seeing that can simply be

corrected through good and rational ways of seeing informed by more

experience and increased knowledge. Instead, Barker offers a dialogic

approach to ideology in which one is aware of the ways in which

different ideologies - different ways of framing one's worldview - really

involve the development and articulation of arguments. This kind of

dialogue and dialectic between one way of framing Iran and another is

precisely what makes Satrapi's work interesting. In her subsequent

books, Satrapi rarely uses panels at all (Embroideries) or constantly breaks

the frame (Chicken with Plums). But in Persepolis, she re-frames concep-

tions of Iran by framing an autobiographical history in the context of her

view of Iran's national history.

It is at the level of the depiction of personal identity - the face in the

mirror - that Satrapi's work is most interesting because she takes her

own experiences of revolution, war, and exile, and presents them to her

readers through a framed iconic image that has a universal look, a look

closer to the iconic end of Scott McCloud's abstraction scale. According

to McCloud, comic art (and, indeed, all pictorial representation) can be

understood as existing along a scale of verisimilitude-abstraction. At

one end of this scale would be the most abstract or iconic: the smiley


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face, deer-crossing signs, ideographs, even written words, etc. At the

other end of the scale would be realistic illustrations or photographic

realism. Satrapi's art clearly falls closer to the iconic than the realistic

end of the scale. Her figures are simple line drawings with very little

attempt to produce verisimilitude through detail. She works through a

paradox between a narrative that makes Iranian history and experience

less abstract and a pictorial style that presents her characters as iconic (or

more abstract than photographs or film, for example). In this way, she

frames her own experience as a gift of identification for her reader, like

the picture frame that Lucia's father gives to Marjane as a gift. Satrapi's

Persepolis, while reframing her own autobiography within geopolitical

history, is also iconic enough to be like an empty picture frame into

which the reader can insert his or her subjective experience. She presents

her life as a gradual and incomplete struggle to create a self. And we can

all identify with that.

ROCHESTER INSTITUTE OF TECHNOLOGY

References

Althusser, Louis. "Ideological State Apparatuses/' Lenin and Philosophy and

Other Essays. Trans. Ben Brewster. New York: Monthly Review P, 1971.

Bahrampour, Tara. 'Tempering Rage by Drawing Comics/' New York Times (21

May 2003).

Baker, Martin. Comics: Ideology, Power and the Critics. Manchester: Manchester

UP, 1989.

Douglas, Allen, and Fedwa Malti-Douglas. Arab Comic Strips: Politics of an

Emerging Mass Culture. Bloomington: Indiana UP, 1994.

Eisner, Will. Comics and Sequential Art. Tamarac, FL: Poorhouse P, 1985.

Hall, Stuart. "Signification, Representation, Ideology: Althusser and the Post-

Structuralist Debates." Critical Studies in Mass Communication 2.2 (June 1985):

91-114.

Hollander, Anne. Seeing through Clothes. New York: Viking, 1978.

Lacan, Jacques. "The Mirror Stage." Ecrits: A Selection. Trans. Alan Sheridan.

New York: Norton, 1977.

McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper

Collins, 1993.

Mintz, Alex, and Steven B. Redd. "Framing Effects in International Relations."

Synthese 135.2 (2003): 193-213.

Said, Edward. Culture and Imperialism. New York: Vintage, 1993.

Satrapi, Marjane. Persepolis: The Story of a Childhood. Trans. Mattais Ripa and

Blake Ferris. New York: Pantheon Books, 2003.

2004.

Wood, Summer. "Scenes from the Axis of Evil: The Tragicomic Art of Marjane

Satrapl." Bitch 22 (Fall): 55-58, 94-95.

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