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Persepolis and Waltz with Bashir, an Alternative Perspective on the Middle

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Persepolis and Waltz with Bashir, an Alternative Perspective on the Middle PERSEPOLIS AND WALTZ WITH BASHIR, AN ALTERNATIVE PERSPECTIVE ON THE MIDDLE EAST, A MIRROR FOR THE WEST by Kristyna Dzmuranova This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Stephen Charbonneau, School of Communication & Multimedia Studies, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in paI1iai fulfillment of the requirements for the degree of Master of Arts. SORY COMMITTEE: ----y'--- - ~ant&:L Susan Reilly, Ph.D. ~ Director, School of Communication & Multimedia Studies Heather Coltman, D.M.A. Interim Dean, The Dorothy F. Schmidt College of A11s and Letters 117Z-r~ .. 11 PERSEPOLIS AND WALTZ WITH BASHIR, AN ALTERNATIVEPERSPECTIVE ON THE MIDDLE EAST, A MIRROR FOR THE WEST I. Introduction...........................................................................................................................................1 A. Delving into the Topic..................................................................................................................1 B. Overview of the Examined Movies...............................................................................................5 1. Persepolis................................................................................................................................5 2. Waltz with Bashir.....................................................................................................................6 C. Literature Review.........................................................................................................................8 1. Form and Generic Tendencies..................................................................................................8 2. Middle East and Third World Cinema....................................................................................16 3. Representation and Stereotyping.............................................................................................18 4. Historiography and Postmodern Cinema.................................................................................24 5. Methodology..........................................................................................................................30 II. Chapter One: Form and Generic Tendencies.......................................................................................38 A. Introduction to Genre.................................................................................................................38 B. Persepolis and Waltz with Bashir:Entering the Genre Debate.....................................................40 1. Animation..............................................................................................................................42 2. Autobiography/Memoir..........................................................................................................50 3. Documentary.........................................................................................................................54 4. Teen Film..............................................................................................................................58 5. Essay Film.............................................................................................................................60 C. Conclusion of Chapter One.........................................................................................................64 III. Chapter Two: Representation............................................................................................................66 A. Introduction to Representation....................................................................................................66 B. The Traditional Representation of the Middle East in Western Media..........................................67 C. The Representation of the Middle East in Persepolis and Waltz with Bashir................................72 1. Characters in Persepolis.........................................................................................................73 2. Characters in Waltz with Bashir..............................................................................................80 3. The Intersecting Message in Both Films.................................................................................88 C. Conclusion of Chapter Two............................................................................................................94 IV. Chapter Three: Historiography and Postmodern Cinema....................................................................98 v A. Introduction to Historiography and Postmodern Cinema.............................................................98 B. Historiography and Footprints of Postmodernism in Persepolis and Waltz with Bashir ..............101 C. Conclusion of Chapter Three....................................................................................................115 V. Conclusion.......................................................................................................................................118 VI. Epilogue.........................................................................................................................................128 Works Cited.........................................................................................................................................131 vi I. INTRODUCTION A. Delving into the Topic Persepolis (2007) by Marjane Satrapi and Waltz with Bashir (2008)by Ari Folman are animated memoirs that recently won various cinematic prizes at internationally recognized festivals. Popular reviews praisedthem for the innovative ways in which both movies deal with the fabulous and controversial image of the Middle East. However, not everyone had a positive take on the films. Persepolis was labeled a simplified fairy tale1 and Waltz with Bashir was considered disjointed and boring by some viewers.2 Overall, though, Persepolis and Waltz with Bashir have been evaluated positively. Lisa Nesselson in Variety wrote that Persepolis proves that “animation can be an exciting medium for both adults and kids.” One year later, Leslie Felperin in Variety stated that Waltz with Bashir “could dance nimbly round arthouse niches offshore” and claims that, although Waltz with Bashir is “less accessible” than Persepolis both movies are “mature-aud-skewed cartoons,” pointing out films’ ability to address audiences across generations.The filmsgained international attention through screenings at film festivals in various countries, were nominated for dozens of cinematic awards, and were granted many of them. Both movies were nominated for the Oscar, the Palme d’Or at the Cannes Film Festival and won the Cesar Award in France. Waltz with Bashir was the first animated film nominated for Best Foreign Language Film Oscar.3 In the Middle Eastern region, both films aroused political debate,and various countries handled the criticism differently. Iranian state-run Farabi Foundation sent a letter to the French Embassy in Teheran to protest against the screening of Persepolis at the Cannes Film Festival, reasoning that the film “has presented an unrealistic face of achievements and results of the glorious Islamic Revolution…” (Sharif). Following the success of Persepolis in Europe and in the United States, President Ahmadinejad’s 1 AIP’s, jimr’s reviews on server metacritic.com, http://www.metacritic.com/movie/Persepolis/user- reviews 2 DroogD’s, MikeMike’s reviews on server metacritic.com, http://www.metacritic.com/movie/waltz-with- bashir/user-reviews 3 Awards for Persepolis and Waltz with Bashir in The Internet Movie Database on http://www.imdb.com/title/tt0808417/awards and http://www.imdb.com/title/tt1185616/awards 1 government labeled the film as “anti-Iranian” and “Islamophobic.” Although DVD’s with Persepolis are “strictly forbidden” in Iran, they are available in the country on theblack market. Moreover, the movie was legally screened a couple of times in small Iranian cultural centers, offering the limited audiences a censored version of the Oscar nominated film (AFP). Additionally, Persepolis was officially banned in Lebanon. In Thailand, the film was removed from the list of screenings for the Bangkok International Festival after the festival director “cave[d]in to pressure from” the Iranian Embassy (Reuters). Regarding Waltz with Bashir, in Israel, the film was voted the third most popular “Israeli film of all time” (Leibowitz). In Lebanon, where the movie takes place, Israeli film production is banned. The film was, however, “privately” screened in one of Lebanon’s historical centers,and the center expects a quick spread of the pirated DVD copies (Anderman). The Arab reactions to the film are mixed; some appreciate seeing Israeli soldiers in a “personal light” for the first time; others object to the film’s lack of admitted responsibility for the massacre (Kliger). Both movies are personal testimonies of their author’s unique life journeys. Persepolis depicts young Satrapi growing up in Iran during the Iranian Revolution. Waltz with Bashir portrays its author tracing his lost memories on the Lebanon War in 1982. Roy Armes, in Third World Film Making and the West, argues that education, travelling, study of foreign languages and “acquaintance with Western thought and culture” are necessary to familiarize oneself with the West. Only then, according to Armes, can
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