Rhetoric in the Expository Documentary Mode and Its Application in Historical Documentary Films: A Case Study of "Persepolis - Chicago" and "Razmara: A Silent Dossier"

This study aims to analyze rhetoric in expository documentaries and their use of Aristotelian persuasive strategies in narrating historical subjects. To this end, two expository documentaries, Persepolis-Chicago and Razmara, which focus on ancient and contemporary Iranian history, were selected and analyzed as case studies. The research is based on Aristotle’s rhetorical theory and contemporary perspectives on persuasion in historical documentaries. Using a qualitative approach and rhetorical semiotics, the study examines the content of these documentaries. Data were collected through close observation, analysis of the narrator’s discourse, evaluation of visual elements and editing, and classification based on Aristotle’s rhetorical model.

Findings indicate that Persepolis-Chicago places the greatest emphasis on pathos by depicting the loss of Iran’s historical artifacts and the injustice of their non-repatriation. The documentary employs emotionally charged imagery, evocative music, and an affective narrative to elicit audience empathy. In contrast, Razmara: A Silent Dossier not only utilizes pathos but also draws upon logos by presenting historical documents and archival reports, thereby constructing a data-driven argument.

Both documentaries employ ethos to establish trust with the audience. However, the latter achieves greater credibility through the inclusion of firsthand witnesses and an impartial narrative, despite its strategic weakness in employing an on-screen narrator. The study concludes that the effectiveness of historical documentaries is determined not only by the accuracy of the data presented but also by the manner in which they are narrated and structured. In other words, documentaries are not merely representations of history; they actively participate in shaping historical narratives.