Introduction
The theme of family relationships is a topic that is often covered in literary and cinematic works. Authors and creators portray families from various perspectives, from the conflicts between members to unexpected reunions and loving moments. The two sources containing an in-depth and dynamic illustration of family relationships are “Persepolis” and “Little Miss Sunshine.” Even though the settings, the conflicts, and the overall plotlines of the movie and literary piece are different, the relationships between the characters are critical and take the central point. In this paper, the representation of family will be examined based on the two aforementioned sources, arguing that the notion is illustrated as acceptance and support rather than closeness of opinions and viewpoints.
Synthesis
For the concept of family to be illustrated from the perspectives of “Persepolis” and “Little Miss Sunshine,” it is essential to provide a background to how it is developed and its role in both sources. Arguably, both sources are intended for a similar audience in age, which is young adults and, in the case of the film, middle-aged individuals. “Persepolis” is a series of comic books on the life of Marjane Satrapi from the time she was a young child till the period in which she settles in Paris after escaping from Iran.
While the family appears not to be the center of attention since one character is at the core of the autobiography, it directly or indirectly affected Marjane and formed her into the person she became. The most crucial aspect that can be emphasized from the reading is the concept of acceptance and support. For example, when Marjane decides to get divorced from her husband, despite being traditionally frowned upon, she receives the blessings of her mother and grandmother (Satrapi, 2005). In this case, culture and tradition are less important than family, love, and accepting individuals for who they are and what decisions they want to make.
“Little Miss Sunshine” contains a more direct representation of the family. However, instead of opting for a more traditional way of depicting said notion, the director decided to show a family that differs from the norm. Compared to Marjane’s parents and grandparents, who were illustrated as traditional and included in their country’s cultural norms despite accepting uniqueness, the Hoovers are strikingly different. Namely, the family consists of a mother of two, her gay brother, her husband who wants to become a life coach, her son who took a vow of silence, and other members.
The plot revolves around Olive, the daughter, who wants to attend a beauty pageant requiring the family to take a road trip (Dayton & Faris, 2006). During the travel, various events occur, such as the death of Edwin, the father-in-law, and Dwayne’s meltdown when he expresses his disappointment with his family. Nonetheless, as they arrive at the beauty pageant, they support Olive, but they go on stage and dance with her altogether.
The film portrays the family concept differently from the book, as the comics depict a more standard structure and relationships. The movie highlights the difference between the members and the somewhat complex interpersonal relationships everyone has. Every character is different and does not share characteristics with other ones. For example, the daughter is innocent and childish, the son is isolated and thoughtful, the mother is hard-working and loving, Frank is sensitive, and Richard is ambitious. Furthermore, the differences in personalities generate conflicts between the members.
Nonetheless, what brings them together is certainly acceptance and support, which is the same concept highlighted regarding “Persepolis.” For example, when one of the members exemplifies an action that society would regard as atrocious, the families are there to support and face the consequences together. In “Persepolis,” it happens when the main character leaves the country, while in “Little Miss Sunshine,” Olive dances at the pageant and wants to be removed because the moves are too provocative.
Aesthetic Features
Portraying family relationships in a movie is relatively more straightforward from the perspective of aesthetic features. For example, the comic book cannot have a soundtrack aligning with the sequence’s atmosphere. However, it is essential to mention the aspect of physical closeness that was present because the action was set up in a van (Dayton & Faris, 2006). As a result, the audience could feel the closeness of the people in the frame solely by seeing them together on the screen for most of the movie.
Regarding “Persepolis,” the illustrations are similarly effective in covering the aesthetic component of family representation. Specifically, the members are often illustrated close to each other, the facial features are welcoming, and physical touch is also commonly depicted in the images (Satrapi, 2005). Stylistic devices are less common in both sources as they have a more realistic approach to depicting the events. Nonetheless, imagery is applied in both cases to emphasize the support within the family unit, such as by including everyone together in a frame or illustration.
Culture
Culture plays a vital role in the family concept within “Persepolis.” Cultural aspects such as values, attitudes, and beliefs are portrayed throughout the books. Nonetheless, it is always highlighted that family represents safety from the outside cultural norms and that nothing but the family understands the rebellious name of the main character.
Instead, Marjane’s family encouraged her free thinking and unique approach to life and others. They gave her a Western education, spoke to her on political topics, and encouraged her to leave her home country to escape danger (Satrapi, 2005). The concept of family is well-formulated throughout the books and is directly and indirectly portrayed as a more sacred unity that offers complete acceptance. Thus, it is somewhat in a juxtaposition with the cultural beliefs outside the household.
In the case of “Little Miss Sunshine,” culture similarly contrasts with the family and insight beliefs of the family members. While adhering to the comedy genre of the movie, there are a variety of plot twists that are depicted as out of the ordinary, even in the universe in which the film takes place. For example, the family has to smuggle Edwin’s body after he dies from an overdose (Dayton & Faris, 2006). Thus, cultural beliefs and societal norms are only depicted in both cases to emphasize the contrast between family and society. On the one hand, society has set rules, while, on the other hand, the family accepts and supports no matter what.
Conclusion
Family is, directly or indirectly, the central point within both “Persepolis” and “Little Miss Sunshine.” In both the movie and the book, the family is juxtaposed with the environment, which generates a sense of security. However, acceptance and support are two primary elements in both sources. In “Persepolis,” the family accepts and encourages the main character’s rebellious spirit. In “Little Miss Sunshine,” the differences in personalities among the characters do not stop them from being close to each other in the most challenging times.
References
Dayton, J., & Faris, V. (2006). Little Miss Sunshine [Film]. Big Beach Films
Satrapi, M. (2005). Persepolis. L’Association.