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Political changes in Iran after the Islamic revolution
Iran political, economic, and social
Changes in iran after islamic revolution
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In America, many have come to recognize Iran as a terrorist nation, but in reality, many Americans stereotype Iranians because they misunderstand the country and how it got to that point. In Marjane Satrapi’s graphic novel Persepolis, she gives her readers an inside look of Iran by writing about her childhood during the Iranian Revolution and the changes in her life during that time. The frames in Satrapi’s graphic novel draw similarities and differences between advertisements and the Iranian culture. After analyzing the Satrapi’s graphic novel to advertisements we will look at the similarities and differences of how graphic novels and advertisements use words and images to establish the visual rhetoric.
In the chapter “The Veil,” Satrapi’s graphic novel displays a connection with advertisements; that being a theme of oppression toward women. In the chapter “The Veil,” Satrapi introduces her readers to her life in 1980. A frame from “The Veil,” Satrapi includes a caption and image that 1980 was the year when wearing the veil became enforced by the law (681). The frame prior to the enforcement of the veil explains that the reason behind this law is due to ‘The Islamic Revolution’ (681). With these two frames, readers see that new laws such as the veil were enforced due to “religious” reasons because the government. Having men in government enforce such laws on women demonstrates the control they are attempting to gain. Women face oppression in advertisements similarly by society telling women how they are seen and how they should look. The types of advertisements that target women this way are sexual advertisements. An example of an advertisement oppressing a woman is displayed in Dolce & Gabbana. Dolce & Gabbana created an adver...
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... hand in hand with Persepolis’ use of visual rhetoric to advertisements. The way Satrapi and advertisement companies convey their messages varies, they still contain similarities such as the underlining themes of oppression and desire to attract their audiences.
Works Cited
American Apparel. Advertisement. Themanifoldmag.net. N.d. Web. 01 May 2014.
Dolce & Gabbana. Advertisement. Es.advertolog.com. August 2007. Web. 01 May 2014.
Kilbourne, Jean. “‘Two Ways a Woman Can Get Hurt’: Advertising and Violence.” From Inquiry to Academic Writing: A Text and Reader. 2nd ed. Eds. Stuart Green and April Lidinsky. Boston: Bedford/ St. Martin’s, 2012. 459-480. Print.
Satrapi, Majjane. “The Veil” & “The Bicycle.” Persepolis. From Inquiry to Academic Writing: A Text and Reader. 2nd ed. Eds. Stuart Green and April Lidinsky. Boston: Bedford/ St. Martin’s, 2012. 681-695. Print.
This essay is an analysis of two advertising posters, one of being a modern piece of media, the other being aimed at the previous generation. I will be reviewing posters from Coca Cola and Benetton, the latter being the modern piece of media in this comparison.
Persepolis is a inspirational story written by Marjane Satrapi in the perspective of a young girl’s life during a powerful, historical moment in Iran. The Islamic Revolution was a life-changing moment that impacted her view on the world around her and her innocence shaping her into the woman she is today. Not many people understand what it feels like to feel pain, hurt and abandonment as a child from major and minor things. The author writes this story and decides for it to be a graphic novel to allow the not only young readers, but also for those who do not understand what happens everyday in the world they live in. Satrapi uses all rhetorical stances, ethos, pathos, and logos to show problems, purpose and emotions.
Marjane Satrapi’s graphic novel, Persepolis, is a story based on her own childhood in Iran. The story consists of the struggles her family and friends are forced to deal with, changing Marji’s view of Iranian life and its people. The book starts during a revolution, the Iranian people are trying to overthrow the emperor and when they finally do, war breaks out between Iraq and Iran. During the war thousands of people’s lives were taken, women, children and men of all ages. During this Marji’s parents forced her to leave Iran because they know it is too dangerous for a child of her age to live in the middle of a war so severe and life threatening. During the time Marji did live in Iran, she heard many tales about the umpteen conflicts and struggles that lower class people were faced with. Marji saw her maid whom she loved and cared for, not being able to date her love, their neighbor, because she was embedded in a different social class. She experienced the harsh realities of divergence between men and women. Women were compelled to wear a veil in order to not “distract” men with their hair. Younger boys in the lower end of the class system were given a “golden” key to take to war, which was actually plastic; this key meant that if they were killed fighting for what they believed in, it would guarantee their entrance to heaven. In Iran, there were a variety of ways in which the people of Iran can be distinguished between social classes. Your social class affected you in every way there was during this horrible time in Iran.
The story Persepolis uses the medium of graphic novel and the perspective of a child to convey her message. The events of Persepolis are very dark and in some
The documentary Killing Us Softly 4 discusses and examines the role of women in advertisements and the effects of the ads throughout history. The film begins by inspecting a variety of old ads. The speaker, Jean Kilbourne, then discusses and dissects each ad describing the messages of the advertisements and the subliminal meanings they evoke. The commercials from the past and now differ in some respects but they still suggest the same messages. These messages include but are not limited to the following: women are sexual objects, physical appearance is everything, and women are naturally inferior then men. Kilbourne discusses that because individuals are surrounded by media and advertisements everywhere they go, that these messages become real attitudes and mindsets in men and women. Women believe they must achieve a level of beauty similar to models they see in magazines and television commercials. On the other hand, men expect real women to have the same characteristics and look as beautiful as the women pictured in ads. However, even though women may diet and exercise, the reality...
When writing any sort of narrative, be it novel or poem, fiction or non-fiction, scholarly or frivolous, an author must take into account the most effective manner in which to effectively convey the message to their audience. Choosing the wrong form, or method of speaking to the reader, could lead to a drastic misunderstanding of the meaning within an author’s content, or what precisely the author wants to say (Baldick 69). Even though there are quite a bit fewer words in a graphic novel than in the average novel, an author can convey just as much content and meaning through their images as they could through 60,000 words. In order to do that though, their usage of form must be thoughtfully considered and controlled. Marjane Satrapi, author of the graphic memoir The Complete Persepolis, took great pains in the creation of her panels in order to reinforce and emphasize her narrative, much like a novelist utilizes punctuation and paragraph breaks. Through her portrayal of darkness and lightness, Satrapi demonstrates that literary content influences, and is primary to, the form.
In regard to consumerism and gender, I find two figures—Hannah Hoch and James Rosenquist--connected. Hoch once worked for a women's magazine of the huge Ullstein Press while Rosenquist once earned his living as a billboard painter at Artkraft-Strauss. They had been working within the mass media during the day and using the fragments from the industry to create art works at night before they moved to their own studios. The Beautiful Girl (1919-1920) and The Light That Won’t Fail I (1961) are examples I will use to explore consumerism and the relationship between consumerism and gender. As insiders of the mass culture, Hoch and Rosenquist take both content and technique from the visual vocabulary of mass consumption and transform them into art. Their approaches of creating art pieces witness changes in the consumer world at different time periods of history. As manifested in their works, The Beautiful Girl and The Light That Won’t Fail I, photomontage and billboard-like painting resemble the forms of advertising. And their different kinds of juxtaposition embody the experience of the consumer world and the artists’ allegorical comment on consumerism and gender.
In a brilliant update of the Killing Us Softly series, Jean Kilbourne explains the dangers of advertisements and how they objectify women. Advertisements intelligently portray women in a sexual and distorted way in order to attract the consumers’ attention. Media sets a standard on how young women view themselves and puts them at risk for developing an eating disorder. Kilbourne’s research has led her to educate those who have fallen victim to achieving the “ideal beauty” that has evolved in today’s society.
The cultural symbols are displayed in this commercial to allow the audience to understand the message being conveyed in a short period of time. In this example the message was a demonizing allegory that represented a competitor with reputedly negative qualities .
For my semiotic analysis I chose to talk about a commercial for ‘Be delicious’ from Donna Karan New York to demonstrate how advertising generates its meanings, construct the image and behaviors ideology in order to attract customers.
Side-by-side are two advertisements, each showing a picture of a car and two family members. The ads demonstrate the amount of power allotted to women in the times they were made. The differences in these ads far outweigh the similarities. The ad from a 1954 Good Housekeeping shows a woman being reprimanded by her husband for wrecking their car. The otherfrom a 2003 Redbookshows a wife and mother holding her daughter with one hand and an umbrella with the other. One woman is ignorant, irresponsible, incapable, and not in control; the other is competent, responsible, and in control. The evolution of advertising reflects the changes that have taken place in the way American society views women. The ads use body image, body language, and text to encapsulate the stereotypical women of each era; in the 50's, women needed to be controlled, but now women can be in control.
4) Kilbourne, Jean. Killing Us Softly 3: Advertising’s Image of Women. Dir. Sut Jhally. DVD. Media Education Foundation, 2000.
Persepolis, a graphic novel by Marjane Satrapi, is not a run-of-the-mill comic book. It is written with purpose. Satrapi wrote and illustrated this book to show Americans that their perspective of her home country, Iran, is askew. She believes Americans are too focused on the “fundamentalism, fanaticism, and terrorism” (Satrapi ii), of the nation and that they forget to notice the normality and humanness of it. Since these two perspectives have vast differences, Satrapi wants to change their minds. Thus, it is crucial that she effectively communicate this humanness of Iran to the literary audience in America. Since the literary devices in a work are needed to correctly convey a message, she found it necessary to include these and manipulate them in her favor. Satrapi uses the innocence of a child along with morals in her pictures and a relation of cultures to effectively communicate her message. It is necessary to examine how she manipulates such literary devices in order to gain a full understanding of the text.
It explores the way advertising exploits women and shows how that exploitation can be violent.
With so much exposure to this type of media, it is easy to become desensitised to it. With America becoming numb to the violence in these advertising tactics, domestic violence is an increasing problem as brutality against women has become trivialized. Jean Kilbourne 's “‘Two Ways a Woman can get Hurt”: Advertising and Violence’ argues that violence in advertising profoundly affects people in a skewed physiological manner, leading to violence against women. Kilbourne insists that “...violent images contributes to the state of terror...” felt by women who feel victimized by men who “...objectify and are disconnected...” from the women they mistreat (431). She furthers her argument by dictating that “....turning a human being into…an object, is almost always the first step towards justifying violence against that person” (431). So much of the media that America consumes is centered on dehumanizing women into an object of male enjoyment. It is difficult to have empathy toward a material object. Because of this objectification, men feel less guilty when enacting brutality upon women. Violence becomes downplayed because it is seen everywhere - in advertising and media - and this has contributed significantly to the cases of domestic violence in America. America has become numb to violence against women in advertising, leading to an alarming increasing domestic violence in this