Clueless_and_Emma_Comparative_Text

How has the Composer of the Contemporary text used the earlier text to say something new' Although Emma was written two centuries ago, it still has relevance in today's world. The story focuses on the themes of social structure, status of women in society, personal relationships, growth and marriage, vanity, misconception and deception which are themes we can all relate to. The modern movie Clueless, directed by Heckerling, has been adapted from the original Jane Austen text and mirrors many of the themes and concepts of Emma but in a contemporary way, with a dramatically different style which is far more relevant to today's society. The modernisation of the themes in Heckerling's Clueless resonates more deeply with the 1990's audience. In terms of style the two 'texts' have significant differences. The novel Emma was directed at a limited audience of book reading Victorian middle class woman whereas Clueless comments on a 1990's American life and values in a brash 'in your face' way reaching a wide audience through the ever popular 'Chick flick' movie genre. In Clueless, Heckerling's titles and credits are presented in bright, vibrant colours with the 'Kids in America' playing and sound effects reflecting teenage interests (visual and aural clues). This helps to introduce the genre and style of film. Clueless tells the story through Cher's point of view and the use of voice over allows the director to convey the thoughts of the main character. Austen uses a more elaborate, descriptive style that absorbs the reader. The two heroines Emma and Cher have a similar, high social status with a governess (Miss Taylor) and house maid (Lucy). They both have superior attitude and feel that some social activities are beneath them. Both girls are quite shallow and have done little to better themselves. They are spoilt by over indulgent fathers with Cher's father buying her an expensive Jeep. Cher like Emma has had "very little to distress or vex her." The heroines of both texts are conscious of their positions in society and try to manipulate relationships. When an innocent, low status girl (Harriet and Tai) arrives, both Emma and Cher take her under their wing and make her their 'project' with a desire to match make them with a suitable beau, the over confident Mr Elton in Emma and the brash Elton in Clueless. When Emma first sees Harriet she quotes "She would notice her; she would improve her; she would detach her from her bad acquaintances.... her leisure and powers" similarly when Cher first meets Tai and says to Dionne "De, my mission is clear, we've got to adopt her. Don't you want to use your popularity for a good cause'" Harriet and Tai favour the love of the lower status farmer Robert Martin and the comparable skater/druggie boy Travis. Both Emma and Cher deny the relationship of Harriet and Tai with these two men who are deemed socially inferior even though in reality the pairs are from similar social and class backgrounds. Heckerling again echoes the original text when exploring relationships and marriage, but in a contemporary way. Both heroines have a similar attitude towards love and marriage, spurning men as they feel that they can live quite happily without them. Emma is against getting married and Cher doesn't want to date high school boys as they are "like dogs." Whilst neither Emma nor Cher want marriage for themselves they are keen to facilitate other relationships . Emma is successful with Mr Weston (widower and Randalls proprietor) and Miss Taylor (her governess), and Cher is successful with Miss Giest (School Guidance Councillor) and Mr Hall (Debating teacher). The heroine's initial forays into relationships end in disappointment with Emma's attraction for Frank Churchill (son of Mr Weston) being dampened by his secret engagement to Jane Fairfax and Cher's devastation at discovering the handsome Christian (new student at school) is actually gay. In Victorian times, admitting anyone was gay was completely taboo but in today's society it is relatively common (although still stigmatised) and thus Heckerling's representation resonates with the new audience. For both heroines, it is only when the lesser Harriet and Tai fall for Mr Knightley (Emma's brother in law) and Josh (ex step brother) that they realise their own attraction to them. In the end Emma and Cher find happiness by marrying and forming a relationship with Mr Knightley and Josh who are from the same social standing and class. Similarly Harriet and Tai settle down with men from their own class with Harriet marrying her first love Robert Martin and Tai partnering with Travis. Today's audience may question whether Heckerling by following the theme of the original novel is still relevant, as nowadays it is widely accepted that anyone can marry anyone, including a Prince marrying a commoner. Both Emma and Cher love being the centre of attention. Emma is loved by her father and in a position of power, running the house hold following the death of her mother and marriage of her sister. She succumbs to the flattery of others including Frank Churchill and is easily deceived. Cher has beauty and wealth and uses her powers of manipulation and persuasion to her advantage (eg regrading of her report card). In Heckerling's adaptation the shallowness that drives vanity is humorously portrayed when we learn that Cher's mother has died following a routine liposuction procedure. Heckerling mirrors in Cher the personal growth of Emma. Both Cher and Emma are extremely confident in their ability to control situations and manipulate people into what they want them to do. It is only in The Mall and Box Hill incidents that they realise individuals have their own feeling and desires and can't be controlled and this makes them take out their anger on others. By the end of the novel and movie both heroines have gained insight and have learnt from their mistakes and become a better person realising that marriages and relationship between couples of similar interests and backgrounds are more likely to succeed. Emma and Clueless are both full of misconceptions. Heckerling's adaption once again modernises the theme. In Emma's push to match Mr Elton with Harriet she misreads the signs (framing the portrait of Harriet) and does not realise he actually wants to marry her. Cher also misreads the situation when she takes the photo of Tai and Elton wants a copy to put in his locker, she realises Elton wants her when he takes her home from the Valley party instead of Tai. Both Emma and Cher are so keen to match make specific pairs (Mr Elton and Harriet, Elton and Tai) that they fail to see Harriet and Tai's true feelings for other men (Mr Knightley and Josh) who the heroines think they are unworthy of. Mr Knightley, after Mr Elton's refusal, dances with Harriet at the Crown Inn Ball to save her from social embarrassment. Josh similarly dances with Tai at the party to make her not feel left out. Both actions result in Emma and Cher becoming jealous. They are stubborn and assume they can simply arrange the lives of others and always get what they want. Emma and Cher are sure they can control things and they are blinded to reality, especially when they think their feelings of love are reciprocated. Frank pays Emma much attention to conceal the fact he is engaged to Jane Fairfax. Christian enjoys Cher's lifestyle of shopping and video watching but this is because he is gay rather than interest in Cher. Both Frank and Christian had crossed moral boundaries in their societies, being unfaithful to a partner and being gay both of which were socially unacceptable for their time. In the end the two heroines find love and realise Mr Knightley and Josh are the ones for them with narrator in Emma saying of "It darted through her with the speed of an arrow that Mr. Knightley must marry no one but herself" and Heckerling adapting the original quote when Cher realises "Oh, my god! l love Josh... I am majorly, totally, butt-crazy in love with Josh." Janes Austen's themes of social structure, status of women in society, personal relationships, growth and marriage, vanity, misconception and deception are as relevant in today's society as they were in the 17th Century which is why Heckerling's 'Clueless' resonates with the modern audience. Heckerling has closely followed the themes but revamped them through the movie medium and modernised some of the features in the book whilst keeping the main thematic concerns within the text.