Marjane Satrapi's Poulet aux prunes offers an intriguing example of self-adaptation from comics to live-action film. This essay will consider how the Franco-Iranian Satrapi, within her dual role as self-adapter and transnational filmmaker, uses intertextuality and remediation beyond her own source text in ways that pointedly expand the transnational resonance of her film. These narrative and aesthetic strategies also extend to the film's paratextual discourses, namely, the extras available on

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... e French dVd release of the film. The book, film, and dVd paratexts related to Poulet aux prunes thus form the core of this discussion of self-adaptation and transnationality.