Emma & Clueless

Intro C appropriates Es 19th Century place setting into a contemp. Beverley Hills society embedded in material availability and conspicuous consumption. o Austens PURPOSE non changed ( C ( satire of context and merciful nature ( C has other purp. ( Question value and validity of texts ( POMO fracture THESIS The sack of a text helps develop and mold wise meaning to its counterpart, and hence deepen the understanding of each text.However , it is important to lineage that for this meaning is to be conveyed, many of the themes within the original text must remain the equal, it is the context and the values inherent within these themes that change. o some(prenominal) texts present, deluded central character nutriment in own upper- manakin microcosm. Emma living in C19th England ( handsome, clever and rich woman of one and twenty with aught much to distress or vex her. ? Lives in a human race based around inheritance, breeding, manners and discoverability as means for genia l valuing. Cher is a 15 year old living in the Noxema technical land of imagists that is Beverley Hills in the 1990s. ? Social values based upon material availability, run into and conspicuous consumption. o Both protagonists attempt to transform a protege of rase class and elevate them to their higher status. oEmmas naive intention of transforming Harriet by refining manners and intelligence (not to mention elevating ego) = IRONIC. ( contradicts stagnant class mobility of C19th England. liaison ( sense of hierarchy retained in C. ? Cher introduces Tai to school cliques Iranian Mafia ( reflects sense of materialism and conspicuous consumption of society ( you pick place to own a BMW to sit with them. ( ALSO REFLECTED IN FIRST slam ( MONTAGE. o Loadies that no respectable girl would date o LOADIES gossipmonger ironic because Cher tells Tai in the scene before that choosing a BF is a decision that every girl has to make for herself. o TAI ( her transformation is aesthetic (not like in E) through Chers main jounce in life a make-over. ( reflects extent of importance placed on image and superficiality in modern context. When first presented with Tai she stands out dramatically wearing a flannel shirt, and with died red hair ( as opposed to everyone in gym scene wearing black and dust coat ( she is an outsider, of another class. ?INTERESTING ( although she is supposedly moved up in class, she is evermore subtly dressed differently to Cher and Dionne ( collars, etc, o Ease with which Tai changes hearty status gives sense of tender fluidity, as does fact that Tai duologue back to Cher in confrontation ( youre a virgin who shagt drive. LINK ((( more subtle in Emma where Harriet doesnt confront Emma, but distances herself by communication through letters. (( Travis elevation of class also gives impression of social fluidity ( he gets off drugs, becomes knockout about skateboarding and joins a rehabilitation program. THIS IS UNDERCUT BY COSTUMING IN WED DING SCENE. AND ALSO through with(predicate) FINAL COUPLINGS IN FILM ( HECKERLING UPHOLDS AUSTENS SENSE OF HIERARCHY.( TELEOLOGY REFUTED. o Although idea of coupling in C does not lead to marriage (as in Emma), important to note fact that marriage, or at least a wedding is the ideal and final remainder for women. RE final scene I want sailor hats o In C weddings are deemed more important than marriage itself ( you decouple wives, not children husband number five. o Although marriage is not equally valued in both contexts, the idea of DOMESTICITY is. In the C19th context of Emma, there was an up rise of the bourgeois and of their domesticity-based values. o This is also reflected in C WHEN Chers father values her for the menial tasks she performs in the firm who takes care of the house? Who makes sure daddys had his orange juice? LEADS BACK TO THE IDEAS OF FEMALE OPPRESSION AND THE REBUFFING OF THE NOTION OF TELEOLOGY. BOTH TEXTS ARE BILDUNGSROMANS o Both deal with the personal and character transformations of heroines. o Satirical social comment on composed contexts. o Transformation catalysed by phallic protagonist ( heroine has to submit to being wrong. CONTEXT CHANGED o Inherent themes same ( breakdown of high culture into POMO setting/society o legitimate UNDERSTANDING OF E FOR SOCIETY EMBEDDED IN MATERIAL accessibility AND CONSPICUOUS CONSUMPTION. oCHANGE OF MOP ( reflective of context ( change of narrative office to voice over o Omniscient 3rd person is optical language in clueless o EG. Emma were just friends (in respect to Mr Elton o Omniscient 3rd person had it been 10x more, 10x less, her companions admiration for her wouldve remained the same. o EG. Cher I have a way normal life for a teenager o Shot of her picking out her clothes from a motorised wardrobe. ? IRONY AND CONTRADICTION BETWEEN AURAL AND VISUAL. Both texts unflurried satires of respective worlds. Conclusion. RE POMO INTRO AND RELATE BACK TO QUESTION. ALL slightly VALUES A ND ATTITUDES.HECKERLING IMAGINATIVE, ETC IN TRANSFORMATION OF TEXT BUT REMAINS line up TO AUSTENS PURPOSE ( TO QUESTION AND SATIRISE THE FOIBLES OF HUMAN NATURE. WHILST ADDING TO HER OWN THROUGH THE TRANSFORMATION OF EMMA, HECKERLING HAS PROVEN THAT EVEN A TEENPIC CAN BE VALUED, AND because REINSTATES HER POST-MODERN BELIEFS WITHIN THE TEXT. EMMA AND CLUELESS CONTRIBUTE OT DEVELOPING AND RESHAPING THE VALUE OF EACH TEXT. EMMA ALLOWS CLUELESS TO BE VALUED, WHILST CLUELESS ALLOWS EMMA TO BE UNDERSTOOD AND ACCESSIBLE TO A cohort GROUNDED IN A CONTEMPORARY CULTURE.