The Kennesaw Journal of Undergraduate Research
Volume 4 Issue 1 Article 1
September 2016
Differentiating the Transnational from the National in a Multicultural Setting: Identity in Persepolis and Rush Hour
Laura A. Kasper Kennesaw State University, [email protected]
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Recommended Citation Kasper, Laura A. (2016) "Differentiating the Transnational from the National in a Multicultural Setting: Identity in Persepolis and Rush Hour," The Kennesaw Journal of Undergraduate Research: Vol. 4 : Iss. 1 , Article 1. DOI: 10.32727/25.2019.14 Available at: https://digitalcommons.kennesaw.edu/kjur/vol4/iss1/1
This Article is brought to you for free and open access by the Office of Undergraduate Research at DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Kennesaw Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Differentiating the Transnational from the National in a Multicultural Setting: Identity in Persepolis and Rush Hour
Cover Page Footnote I want to thank Dr. Noah McLaughlin for his support and advice in the development and submission of this essay.
This article is available in The Kennesaw Journal of Undergraduate Research: https://digitalcommons.kennesaw.edu/ kjur/vol4/iss1/1 Kasper: Identity in Persepolis and Rush Hour
Differentiating the Transnational from the National in a Multicultural Setting: Identity in Persepolis and Rush Hour
Laura A. Kasper Kennesaw State University
ABSTRACT
This essay explores the differences between transnational identities and national identities in a multicultural setting by juxtaposing the films Persepolis and Rush Hour. Furthermore, it examines the characteristics of both transnational and national identities and how they are represented in film. In an increasingly globalized world, it is important to distinguish these two types of identity and consider how these individuals interact with today’s society; thus, this essay asks readers to think about the influence that the commingling of transnational and national identities has on the modern world.
Keywords: Persepolis, Rush Hour, Transnational, National, Identity
Understanding the elements that variety of social norms belonging to differentiate transnationalism from multiple, divergent nations. Consequently, nationalism is increasingly imperative in a individuals with a transnational identity globalized world. As the world opens its often feel displaced. Understanding this borders “with increasing migrations, distinction helps the world acknowledge worldwide media disseminations, how transnational individuals function multinational corporations, tourism travel, within society and how, in turn, society’s and so forth, diverse peoples interact with institutions must adjust in order to one another more than ever” (Jensen 189). accommodate the effects of globalization Thus, as a result of the expansive and migration. With the growing number of interconnectivity of nations, diverse immigrants entering the United States, it is identities begin to form. A growing number important for Americans to understand how of migrants, particularly adolescents, transnational individuals interact with develop a transnational identity as they take national ones and how this affects society on the cultural and social norms of the today. Juxtaposing Persepolis and Rush nations with which they interact. These Hour demonstrates the distinction between transnational identities differ from the transnational identity and national identity in national identities that persist throughout a multicultural setting; moreover, multicultural settings, and the films understanding these identities is essential in Persepolis and Rush Hour illustrate these an increasingly globalized world. differences.
National identities are defined by a specific set of political and cultural values that pertain to one nation-state, whereas transnational identities are shaped by a
Published by DigitalCommons@Kennesaw State University, 2016 1 The Kennesaw Journal of Undergraduate Research, Vol. 4 [2016], Iss. 1, Art. 1
Introducing the Films within the Context Accordingly, the film Rush Hour of Transnationalism and Nationalism distinguishes these values by displaying characters with stereotypical qualities that Transnationalism are associated with their individual nationalities. Transnationalism concerns itself with globalization and the interconnections Persepolis and Transnational Identity across borders. As a result of the growing interconnectivity of the world, “hybridizing In order to illustrate the contrast tendencies have become predominant” between these two films and the two types throughout cinema; similarly, transnational of identity, Marjane Satrapi’s Persepolis identities are affected and shaped by will be examined first. Persepolis hybridization (Ezra & Rowden 2). The film exemplifies aspects of transnationalism and Persepolis exemplifies this type of the transnational identity, using the style of a transnational identity and explores the exilic cartoon to create a “third space” which life of Marjane Satrapi, a girl who grows up makes the film universally relatable. in Iran and moves to Austria in order to Because Marjane chose to represent her escape the oppressive nature of her country. story in animation rather than live-action, Marjane’s identity is shaped and changed as the locations within the film lack realism: she moves across borders, causing her to “The city of Tehran is depicted obliquely in feel displaced as she struggles to find the film, lacking specifically cultural, herself; consequently, she develops a geographical or historical referents; it could transnational identity that distances her from be any number of cities in any number of both her friends and family. countries” (Warren 2). This lack of realistic representation is what enables the locations Nationalism and events within the film to take on a universal appearance, allowing the viewer to National identity is portrayed in interpret the space freely. Rush Hour: a film about two police officers, played by Jackie Chan and Chris Tucker, Furthermore, this “animation offers a from dissimilar cultures who work together means for deeply personal sometimes to find the kidnapped daughter of a Chinese dangerous stories to be told without the diplomat. The film places an emphasis on burden of maintaining realism and the national identities of Chief Inspector Lee negotiating authentic reconstruction” and Detective James Carter who interact (Warren 1). The style of this film not only with one another in the multicultural settings allows for a deeper, more focused of Los Angeles and china town. Nationalism interpretation of Marjane’s experiences, but and national identity differ greatly from also causes viewers to feel more connected aspects of transnationalism. Nationalism is to the characters and events. It is also told in generally concerned with a feeling of strong the style of a bildungsroman, or coming of loyalty to one nation and focuses on the age story, which incorporates universally principles of a single nation as the defining relatable experiences such as going through qualities of those within the nation-state. puberty and falling in love, further enabling These principles are a particular set of Marjane to connect to her viewers while social, cultural, and political values that simultaneously illustrating how her distinguish one nation from another. experiences shape her identity.
https://digitalcommons.kennesaw.edu/kjur/vol4/iss1/1 DOI: 10.32727/25.2019.14 2 Kasper: Identity in Persepolis and Rush Hour
Identity in Iran and punk music are all socially acceptable in Austria, so her love for westernized culture While Marjane grows up in Tehran, loses its meaning because it is no longer a her identity is largely non-conformist in sign of her rebellion. Thus, she is viewed as relation to Iran’s national culture. As a result a conformist while she tries to find her of the Iranian revolution, an anti-western identity in a new context. theocratic government, lead by Ayatollah Khomeini, is put into place, and Sharia law As a consequence of her experiences is implemented. Consequently, western in war ridden Iran, she is unable to relate to items are banned, women are greatly her new friends and their perspectives. This oppressed, and individualism is discouraged. is shown when her friend Momo asserts that Despite this, Marjane chooses to indulge in politics are “all bullshit” and that “life is western culture by listening to punk music nothingness,” and Marjane responds by and adorning her outfit with westernized telling Momo that he is “the one that is full jackets and shoes. She also goes to illegal of shit” (Persepolis). Although she attempts parties where alcohol is drunk and cigarettes to fit in and mask her ties to Iran by telling are smoked as an act of rebellion. By people she is French, she inevitably feels associating with Western culture and more connected to her Iranian identity speaking out against common oppressive within the context of her life in Austria. As a ideas, Marjane is anti-nationalism and result, she alienates and secludes herself distances herself from her nation’s society. from others, becoming depressed because of her inability to fully assimilate into Austrian Identity in Austria culture.
In consideration of her outspoken Transnational Identity nature, Marjane’s parents fear for her safety and essentially exile her to Austria so that Marjane’s unhappiness with her life she can escape the oppressive nature of Iran. in Austria causes her to return home; The theme of exile is very prominent however, she returns to Iran to find that she throughout the film and is indicative of no longer connects to the culture there. This transnational characteristics. Additionally, is illustrated in the scene where Marjane is this theme is further highlighted through the sitting in a chair greeting her friends. When exilic story of her Uncle Anoosh, who was they inquire about her sexual life, they are “an idealist and a revolutionary who fought shocked by her promiscuity. Her friends in against the shah” (Warren 3). During her Iran view her as the “other” because “in her own exile in Vienna, Austria, Marjane feels homeland, female sexuality is limited, while displaced from western culture. The film in the context of a host society, she has emphasizes on this displacement by experienced a different sexual lifestyle” contrasting the portrayals of Tehran and (Behbahani 65). Marjane says in her memoir Vienna: “Unlike the minimal depiction of that “[she] was a westerner in Iran, an the Tehran city-scape, Vienna is animated as Iranian in the west” (Satrapi 118). The an exaggerated over-the-top environment” dichotomy of her identities leaves her in a (Warren 3). Marjane also feels detached state of transnational hybridity. Thus, she is from the music scene even though she is an amalgamation of her two separate able to find a group of friends that share her identities, “living in a . . . ‘third space;’ a interest in punk music. Western practices combination of both cultures, which
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simultaneously is neither of them” are highlighted in the opening scenes of the (Behbahani 60). Marjane has a transnational movie and demonstrate the national identity which causes her to feel displaced in identities of Chief Inspector Lee and James both her home’s and host’s culture, making Carter. it difficult for her to relate to the people in her life. Chinese Nationalism
Throughout the film, this sense of The film begins with a chase scene displacement is further demonstrated by the involving Chief Inspector Lee, played by images on the screen. There are many Jackie Chan, and Sang, a henchman of the distant shots filled with empty space, villain Juntao. In this scene, Lee is representing her social marginalization and represented with stereotypical Asian her perpetual exile to a “third space.” Most qualities in order to put an emphasis on his notably, the beginning of the film displays national identity. While Lee is in pursuit of Marjane as an adult waiting at an airport in Sang, he must use kung-fu to take down France. This moment marks the present and other henchmen. His use of Kung-fu in this highlights how her character is “positioned scene, as well as the rest of the film, is a between cultures and environments” predominant characteristic associated with (Warren 1). Compared to the black and Hong Kong cinema and is used to spotlight white scheme used in the majority of the Lee’s Chinese identity. According to Desser, film, this is the only scene animated in color. “Kung-fu [is] an instinctive but disciplined Whereas the black and white scheme is used art linked to a cultural and national identity to emphasize the dichotomy of her two (143). Furthermore, this national identity is identities, the use of color represents the often personified by actors like Jackie Chan blending of her separate selves into a whose characters are displaced from their transnational identity. The scene exemplifies homeland (Desser 143). In the case of this the overall transnational theme of the movie film, Jackie Chan’s character is dislocated to and represents the liminal space that the multicultural setting of Los Angeles. transnational individuals are situated in. While there, he experiences American culture and must work along side his Rush Hour and National Identity American foil: Detective James Carter.
Contrastingly, Brett Ratner’s film American Nationalism Rush Hour portrays distinct national identities by applying stereotypical qualities The film portrays Detective James to the two main characters in the film. The Carter, played by Chris Tucker, with ways in which identity is illustrated stereotypically American attributes: throughout this film drastically differs from loudness, cockiness, pride, and the transnational identity of Marjane in independence. He is also associated with Persepolis. National identity is characterized violence and explosions. In the scene by explicit social behaviors, beliefs and immediately following Lee’s introduction, cultural values that adhere to a specific Detective Carter makes an undercover nation. In order to accentuate national transaction with a bomb dealer. Carter is identity, national cinema “adopt[s] a range both loudly outspoken and extremely cocky of formal and generic characteristics” as he pulls up in his American sports car. (Higson 15). These “generic characteristics” Carter’s actions exemplify the stereotype of
https://digitalcommons.kennesaw.edu/kjur/vol4/iss1/1 DOI: 10.32727/25.2019.14 4 Kasper: Identity in Persepolis and Rush Hour
the loud, rich, and overly confident side but never fully blend together American. Additionally, as a result of his (Anderson 70). actions, several police officers get shot and a car explodes. Here, Carter embodies the Conclusion persona of an American, one who likes violence and conflict. This stereotypical Thus, transnational identity and view of Americans is perpetuated national identity are vastly different as throughout the Rush Hour franchise; in Rush illustrated in the films Persepolis and Rush Hour 3, the French taxi driver George Hour. In some cases, when individuals with vocalizes this stereotype by stating, “I will a national identity are placed within a never know what it's like to be an American, multicultural setting they can still retain never know what it feels like to kill for no their national identity as is seen in the case reason” (Ratner). This portrayal of Carter of Lee and Carter. However, as travel and contrasts with the restraint and non-violence communication across nations becomes that Lee showed during his chase, where he more accessible and families migrate more allowed the perpetrator to escape instead of frequently, individuals with transnational shooting him. identities, like Marjane, become more common. As a result, both transnational and The Intermingling of National Identities national individuals interact with each other within multicultural settings and “the Inspector Lee’s and Detective assumption that people will live their lives Carter’s divergent qualities are juxtaposed in in one place, according to one set of national order to place further emphasis on their and cultural norms . . . no longer holds” individual national identities; they both (Levitt). The presence of these diverse serve as a foil for each other to further identities influences the social, political, and distinguish their differences. Although the economic aspects of a host nation. film takes place in the multicultural settings According to Levitt, “together, they can of Los Angeles and Chinatown, the transform the economy, culture, and identities of the main characters still remain everyday life of whole source-country divergently nationalistic. Berry and regions.” Therefore, it is imperative that Farquhar assert that “as Lee and Carter nations such as the United States, who become personally closer on the job, experience a high influx of diverse national . . . symbols begin to merge:” immigrants, work to accommodate the Carter learns some of Lee’s Kung-fu tricks sociological and economic effects that the and tries Chinese food, whereas Lee learns commingling of national and transnational some of Carter’s dance moves and how to individuals brings. act in American culture (Berry and Farquhar 152). However, despite the fact that they partake in aspects of each other’s cultures and they do not have difficulty assimilating some of these new experiences into their own identities, they still retain their distinctive national identities. Like oil and vinegar “their dynamics embody cultural emulsion;” their identities are placed side by
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