The visual aesthetic approach used in the film manages to capture the vivaciousness of a wide-eyed, rambunctious child, in contrast to the horrors amid the escalation of the 1979 Iranian Revolution. The following analyzes the aesthetic construction specifically around the story’s balance of extremes conveyed. The first thirty minutes of the film bring to life a simmering political environment in contrast to the normal life of a child as the situation reaches a boiling point and changes everyone’s daily lives. Many scenes which encompass situational details ranging from uncomfortable to horrific are balanced with a dose of levity — use of dramatic contrast is often softened by translucent layers, and/or using perspective to convey the vulnerability of a young child immersed in the early stages of a war-torn environment. It is questionable whether this balance would have otherwise been achieved with live action or even through the inclusion of colour. The use of contrast punctuates the starkness of the situation unfolding around them. This is particularly acute in the scene where bombing happens at night …

The assumption on which Pauline Escande Gauquié bases her analysis and contrasts the creative elements of “Persepolis” in graphic novel and animated form is disputable, and thus casts doubt on the ensuing lens through which she analyzes Marjane’s Satrapi’s works. The author of the article, “Quand la Bande Dessinée Devient Dessin Animé: ‘Persepolis’,” assumes the graphic novel as the medium of choice for Satrapi to tell her story, was derived from Satrapi’s doubt that she could garner credibility with an adult audience, as illustrated by the following: La valeur testimoniale du récit émerge à travers les doutes de l’auteur sur sa capacitérelater avec exactitude la véracité des faits. Persepolis par son recit autobiographique et la valeur historique du témoignage de Marjane Satrapi, comme survivante puis comme exile de guerre, vise ainsi un public d’adultes. Si l’auteur utilise la bande dessinée afin de rendre compte d’un sujet grave, c’est parce qu’elle envisage le média dans son versant livresque et critique (99-100). Gauquié’s assumption is inherently flawed. As a self-exiled survivor of the 1979 Iranian Revolution, Satrapi’s …