Emma & Clueless

Intro C appropriates Es 19th Century context of use into a contemp. Beverley Hills society embedded in material availability and conspicuous consumption. o Austens PURPOSE not changed ( C ( satire of context and human nature ( C has other purp. ( principal value and validity of texts ( POMO TRANSFORMATION THESIS The transformation of a text helps develop and mold peeled meaning to its counterpart, and hence deepen the understanding of each text.However , it is important to note that for this meaning is to be conveyed, galore(postnominal) of the themes within the original text must remain the same, it is the context and the determine inherent within these themes that change. o Both texts present, deluded central character living in own upper-class microcosm. Emma living in C19th England ( handsome, disposed(p) and rich woman of one and twenty with nothing much to distress or vex her. ? Lives in a world based around inheritance, breeding, manners and respectability as means for social valuing. Cher is a 15 year old living in the Noxema commercial land of imagists that is Beverley Hills in the 1990s. ? Social values based upon material availability, image and conspicuous consumption. o Both protagonists attempt to transform a protege of disdain class and elevate them to their higher status. oEmmas naive intention of transforming Harriet by refining manners and science (not to mention elevating ego) = IRONIC. ( contradicts stagnant class mobility of C19th England. LINK ( sense of hierarchy retained in C. ? Cher introduces Tai to inform cliques Persian Mafia ( reflects sense of materialism and conspicuous consumption of society ( you have to own a BMW to sit with them. ( ALSO REFLECTED IN FIRST SCENE ( MONTAGE. o Loadies that no respectable girl would realize o LOADIES comment ironic because Cher tells Tai in the scene before that choosing a BF is a finale that every girl has to make for herself. o TAI ( her transformation is aesthetic (not like in E) b y means of Chers main thrill in conduct 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 minacious and white ( she is an outsider, of another class. ?INTERESTING ( although she is supposedly moved up in class, she is always subtly spruced up differently to Cher and Dionne ( collars, etc, o Ease with which Tai changes social status gives sense of social fluidity, as does detail that Tai talks back to Cher in confrontation ( youre a virgin who cant drive. LINK ((( more subtle in Emma where Harriet doesnt confront Emma, but distances herself by conversation through letters. (( Travis elevation of class also gives impression of social fluidity ( he gets off drugs, becomes monstrous about skateboarding and joins a rehabilitation program. THIS IS UNDERCUT BY COSTUMING IN WEDDING SCEN E. AND ALSO finished 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 to the lowest degree a wedding is the ideal and final goal for women. RE final scene I requisite sailor hats o In C weddings are deemed more important than marriage itself ( you divorce wives, not children husband number five. o Although marriage is not equally valued in some(prenominal) 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 home who takes care of the house? Who makes sure as shooting daddys had his orange juice? LEADS seat TO THE IDEAS OF FEMALE OPPRESSION AND THE REBUFFING OF THE NOTION OF TELEOLOGY. BOTH TEXTS are BILDUNGSROMANS o Both deal w ith the personal and character transformations of heroines. o Satirical social comment on composed contexts. o Transformation catalysed by male protagonist ( heroine has to submit to being wrong. CONTEXT CHANGED o Inherent themes same ( breakdown of high culture into POMO setting/society o COHERENT arrangement OF E FOR SOCIETY EMBEDDED IN MATERIAL AVAILABILITY AND CONSPICUOUS CONSUMPTION. oCHANGE OF MOP ( reflective of context ( change of narrative voice to voice over o Omniscient third person is visual 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. ? satire AND CONTRADICTION BETWEEN AURAL AND VISUAL. Both texts still satires of respective worlds. Conclusion. RE POMO INTRO AND RELATE BACK TO QUESTION. ALL ABOUT VALUES AND ATTITUDES.HECKERLING IMAGINATIVE, ETC IN TRANSFORMATION OF TEXT BUT REMAINS TRUE 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 HENCE 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.