I would like to indicate my opinion about the posted question in the class "How can this film challenge the idea that 'documentary writing is opposed to literature that is based on artistic imaging'". In Persepolis, some scenes are composed by several images that it would not be able to happen simultaneously. For instance, while Siamak Jari describes the Ahamadi's torture to Marji and her family, both of the description that the explanation by Siamak and Ahamadi's torture by cruel torturer are drawing in same scene. Although both of the description shows us clear information, it is impossible one in terms of our real optic angle. That is, although it is a advantage of the image that it can describe which cannot happen in our real world, there is a risk that the reader could not use their imagination by the implanted image.
On the other hand, the film "Up the Yangtze" provides audience the real description. In the documentary works, the dramatized events like as the above sentences in Persepolis would not happen in at all. Because of the elimination of the implanted and dramatized image, the audience can evaluate the movie by their own consideration. Furthermore, it is one of the characters of documentary works that a movie or program that gives facts and information about something. Therefore, the film "Up the Yangtze" is trying to describe the naked information about characters without dramatization. It shows the figure of two young boy and girl. Both of them are described their figure that is including the distress, the frustration, the affection for family, and ignorance for living in the society. Therefore, I think this film challenges to describe the documentary work which opposed position against the artistic imaging in terms of the elimination of the dramatization.
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I think that Ryosuke found a very interesting connection between Persepolis and “Up the Yangtze.” I would like to add to his theory by examining the examples of narration styles that he mentioned, using ideas from Scott McCloud’s Lecture about the relationships between print comics and web comics.
ReplyDeleteMcCloud said that print comics are unlike any other media in that there is a direct relation between movement in space and movement in time. This means that as one reads a comic from left to right, one can be certain that time is progressing. This relationship between space and time is not necessarily found in other art forms, such as the film “Up the Yangtze.” Ryosuke said that “Up the Yangtze” was “trying to describe the naked information about characters without dramatization.” The way that I understand this is that Chang spends most of his time characterizing Cindy, Jerry, and other characters, without a necessarily linear timeline. The story is connected by the narration and the movement of the boat, in the same way that as Ryosuke says we rely on the “description [to show] us clear information” in the scene from Persepolis.
This use of non linear timelines is unusual for print comics, but has become less unusual for web comics. McCloud gave several different examples of how comics on the web utilize technology to lead the reader in different directions. I believe that the torture scene from Persepolis that Ryosuke described (Satrapi 51) is an example of a comic artist’s breaking the space-time relationship, just in print rather than online. Satrapi’s use of broken timelines makes the reader focus on the action. This is similar to the broken characterization of the characters in “Up the Yangtze,” which helps the viewer to focus on the concepts that the author is trying to portray.
So, both Satrapi and Chang utilize disconnected scenes tied together by narration to help the reader to focus on the ideas and purposes of the stories.