Production of film also allowed for the addition of sound, music, and real-time comparisons of shots by using dissolves rather than being limited solely to still shots, as is the case with a graphic novel (T). While the scenes that were cut bolstered these themes and added new ones, such as class separation and failure of independence, they were not necessary for the story of Persepolis to be told effectively (T). In doing so, the film utilized this extra time by prioritizing the events and themes in Marji’s life that had the greatest impact on her development (T). In producing the film, certain scenes (and thus, characters) have been cut from the narrative. The final aspect that makes the film presentation different than the graphic novel are elements of design. While the no vel goes into detail and incorporates extensive buildup of climactic dramatization, the film sacrifices this for use of other effects (T ). The cab driver is the only character that appears in the film but is not present in the novel ( IvyPanda ). Additionally, Markus (Marji’s first boyfriend) has a reduced role in the film in comparison to his very extensively described impact an d presence conveyed in the novel ( IvyPanda ). This includes the women who insult Mali and Marji’s mother at the grocery st ore, Mali and her children, and Mr. For example, the film excludes several characters that are present in the graphic novel. Ĭharacterization is another aspect of the film making process that differs across formats of presentation. The final scene of the film is not present in the novel at all and depicts Marji ta king a cab to the airport when the cab driver asks where she is from, she responds ‘Iran’ ( IvyPanda ). Additionally, while the book tends to give very detailed accounts o f the story of Marji’s first love, this is not nearly as present in the film ( IvyPanda ). However, there are certain ‘chapters’ that get left out, including “The Let ter” and “The Jewels” ( IvyPanda ). The graphic novel is told in patches and highlights selected events while the film portrays more of a flowing narrative ( IvyPanda ). In contrast, the film begins with Marji in adulthood in which she is shown folding a veil over her head ( IvyPanda ). The graphic novel format of Persepolis begins with an opening chapter titled “The Veil” in which Marji is shown as a young girl in 1980 wearing her own veil ( IvyPanda ). These differences can be categorized into plot, characterization, and design elements. Persepoli s holds value in both its film and novel versions, though each impact consumers in unique manners.
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