Change In Mean Girls Essay
The greatly popularised and adopted use of text as a medium to convey messages construct the perception of ones conceptual world through the interpretation of knowledge. By allowing one to cognitively respond to themes and issues embedded within various textual forms, a creator engages, initiating unique interpretation on behalf of the responders. Karen Tayleur author of the novel 6 assumes an environment where one is immersed into text through the use of conceivable language techniques. And respectively, Mean Girls collaborators; Director Mark Waters and Writer Rosalind Wiseman create a film where the occurrence of themes and issues captivate audiences and responders not only linguistically but also visually via film and narrative techniques.
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The themes and issues recurring within the two corresponding texts derive from mere existence, consciousness and emotion. Secrets, Relationships and Change are the central themes and issues of interest evident within the two texts. Collectively, these two texts evoke the responders perception of themes and issues within the joint encapsulation of teenage narrative.
Secrets, the deliberate containment of knowledge from the unwieldy; is a concept deemed for conservation, protection and preservation. Secrets are held private and in high regard, morally and ethically, as it purposes certain information as appropriate or inappropriate from selective persons.
Tayleur, clearly depicts the ethical imperatives of secrets within characterisation and linear narrative in the novel 6. Although secrets are often kept for the protection of others, it can negatively impact upon the beholder, in this case Nico. Tayleur iterates the stresses of safeguarding secrets through the characterisation of Nico; the boyfriend of Poppy and a teenager harbouring copious unhealthy amounts of pressure - originating from the involvement of school, sport and the multiple prevalent influential factors of existence. Nico although seemingly average, is unable to successfully cope with the pressures of life and continues to disregard its existence to others; he harbours the woes of deep melancholy as he attempts to conserve the concern of others at the cost of the deterioration of his psyche. Tayleur strives to create Nico as relatable, manipulating him to become a manifestation of the tensions of our modern society and how different people tend to manage or attempt to manage stress. Many of Nico’s sorrows, which he keeps secret, descends from many aspects of his life. However, Nico’s gloominess is predominantly due to the current phase of his lifecycle - The teenage years. The difficulty of compulsory school activities and the insatiable desire of fulfilling love remains prominent as priorities. Nico weeps, “Mr. Waterson. He might know maths, but the guy knew nothing about teaching.” Nico blames his teacher Mr. Waterson for failing his maths exam, creating an excuse to endure his failure, resilient, Nico desires to do better but due to other pressing matters like sporting commitments he finds no time to do so. Tayleur effectively presents the concept of secrets as a concept of profound scale, and that irregardless of size or amount still remains ethically important to shroud its knowledge, unveiling its moral importance to the nature of consciousness.
Relationships, a by-product of human emotion and consciousness is a theme which is essential for character development. This recurring theme is portrayed by Tayleur and Wiseman as a two dimensional concept comprised of friendship and romantic relations. in the novel 6, Sarah Lum, the protagonist of 6, is bothered by her best friend Poppy; and Tayleur shows this unease through techniques such as hyperbole and metaphor - aiding in the iteration of relationships. Poppy remains childish and ignorant despite the maturity of her age. Sarah rants, “the thing that was causing a large wedge between us was Poppy’s insistence that her power was real.” By metaphorically labelling Poppy’s as a ‘large wedge’ Sarah suggests that it is Poppy’s childish belief of supernatural forces which separates them - restricting the positive development of their friendship. Additionally, another Catalyst of their currently dysfunctional relationship, is Poppy’s romantic relationship with Nico. Poppy and Nico are consistently along side each other leaving no private time for Sarah, Jealous, Sarah sarcastically states that “They’re so in-love” during the pinnacle of her rage about Poppy’s romantic relationship. Tayleur highlights and contrasts the differences with Poppy and Sarah - how Sarah’s academic intellect is disturbed by Poppy’s pure nature of juvenile carelessness - creating a negative divide within their relationship. Conversely, Tayleur brings the attention of the ideal of opposing relationships and how romantic relations corrupts other relations in this situation, the friendship of Poppy and Sarah. Collaboratively, Mean Girls also touches base on the principles and foundations of relationships and how different relationships affect each other; through dialogue orchestrated by Wiseman and Vocalised by Gretchen Wieners “Ex-boyfriends are off-limits to friends. That’s just, like, the rules of feminism.” by using slang and hyperbole the importance of this statement recalls that romantic relations independently relies on friendship. Showing how relationships once again affects other relationships. Creating the idea that relationships no matter how distant, are correlated and intertwined to others. From the selection of the romantic partner to the state of other friendships, both texts enforce the compliance and affiliation between both types of relationships - within context the theme and text the domino nature of relationships is perceivable to the responder.
The limitless concept of change is an issue which drives both the linear narratives of 6 and Mean Girls.
Change is the quintessential consequence of time and as long time exists so will change. Change in Mean Girls effects the narrative in where the protagonist, Cady Heron, ceases to become her once-was self and transforms into a Plastic. “You’ve turned into a plastic” is a piece of dialogue directly aimed at Cady when having an argument with her best friend Janis - during the climax of the film. By using the term ‘You’ve’ Wiseman insinuates change within the protagonist and stems with the negative connotations affiliate with the label ‘Plastic’. In the novel 6 change is similarly projected by rather indirectly, Linking to the theme of relationships (which also progresses linearly) Sarah comments on Poppy’s power and also labels it; but as ‘Childish’ in “Im sick of your Childish games.”, implying that Poppy is immature and not growing up in the regard of mentality. Poppy’s change or rather, lack-of, is portrayed through her continuous insistence that her psychological power is evidently definite - This change however is not only influential in their relationship but influential the story line in general. The change in both texts are both linearly linked to narrative and time due to the composite nature of change - and it allows the responder to perceive change as long as the linear plot is correctly
followed.
In conclusion, the themes and issues of Secrets, Relationships are effectively portrayed in both texts - allowing the responder to perceive each. Irregardless of the methods used or the techniques familiarised - each text through their own narrative processes convey these themes which seemingly correlate with one another; either through linear plot or characterised alterations. Tayleur and Wiseman compellingly and logically position the themes and issues of interest to be perceived by the responders.
The themes and issues recurring within the two corresponding texts derive from mere existence, consciousness and emotion. Secrets, Relationships and Change are the central themes and issues of interest evident within the two texts. Collectively, these two texts evoke the responders perception of themes and issues within the joint encapsulation of teenage narrative.
Secrets, the deliberate containment of knowledge from the unwieldy; is a concept deemed for conservation, protection and preservation. Secrets are held private and in high regard, morally and ethically, as it purposes certain information as appropriate or inappropriate from selective persons.
Tayleur, clearly depicts the ethical imperatives of secrets within characterisation and linear narrative in the novel 6. Although secrets are often kept for the protection of others, it can negatively impact upon the beholder, in this case Nico. Tayleur iterates the stresses of safeguarding secrets through the characterisation of Nico; the boyfriend of Poppy and a teenager harbouring copious unhealthy amounts of pressure - originating from the involvement of school, sport and the multiple prevalent influential factors of existence. Nico although seemingly average, is unable to successfully cope with the pressures of life and continues to disregard its existence to others; he harbours the woes of deep melancholy as he attempts to conserve the concern of others at the cost of the deterioration of his psyche. Tayleur strives to create Nico as relatable, manipulating him to become a manifestation of the tensions of our modern society and how different people tend to manage or attempt to manage stress. Many of Nico’s sorrows, which he keeps secret, descends from many aspects of his life. However, Nico’s gloominess is predominantly due to the current phase of his lifecycle - The teenage years. The difficulty of compulsory school activities and the insatiable desire of fulfilling love remains prominent as priorities. Nico weeps, “Mr. Waterson. He might know maths, but the guy knew nothing about teaching.” Nico blames his teacher Mr. Waterson for failing his maths exam, creating an excuse to endure his failure, resilient, Nico desires to do better but due to other pressing matters like sporting commitments he finds no time to do so. Tayleur effectively presents the concept of secrets as a concept of profound scale, and that irregardless of size or amount still remains ethically important to shroud its knowledge, unveiling its moral importance to the nature of consciousness.
Relationships, a by-product of human emotion and consciousness is a theme which is essential for character development. This recurring theme is portrayed by Tayleur and Wiseman as a two dimensional concept comprised of friendship and romantic relations. in the novel 6, Sarah Lum, the protagonist of 6, is bothered by her best friend Poppy; and Tayleur shows this unease through techniques such as hyperbole and metaphor - aiding in the iteration of relationships. Poppy remains childish and ignorant despite the maturity of her age. Sarah rants, “the thing that was causing a large wedge between us was Poppy’s insistence that her power was real.” By metaphorically labelling Poppy’s as a ‘large wedge’ Sarah suggests that it is Poppy’s childish belief of supernatural forces which separates them - restricting the positive development of their friendship. Additionally, another Catalyst of their currently dysfunctional relationship, is Poppy’s romantic relationship with Nico. Poppy and Nico are consistently along side each other leaving no private time for Sarah, Jealous, Sarah sarcastically states that “They’re so in-love” during the pinnacle of her rage about Poppy’s romantic relationship. Tayleur highlights and contrasts the differences with Poppy and Sarah - how Sarah’s academic intellect is disturbed by Poppy’s pure nature of juvenile carelessness - creating a negative divide within their relationship. Conversely, Tayleur brings the attention of the ideal of opposing relationships and how romantic relations corrupts other relations in this situation, the friendship of Poppy and Sarah. Collaboratively, Mean Girls also touches base on the principles and foundations of relationships and how different relationships affect each other; through dialogue orchestrated by Wiseman and Vocalised by Gretchen Wieners “Ex-boyfriends are off-limits to friends. That’s just, like, the rules of feminism.” by using slang and hyperbole the importance of this statement recalls that romantic relations independently relies on friendship. Showing how relationships once again affects other relationships. Creating the idea that relationships no matter how distant, are correlated and intertwined to others. From the selection of the romantic partner to the state of other friendships, both texts enforce the compliance and affiliation between both types of relationships - within context the theme and text the domino nature of relationships is perceivable to the responder.
The limitless concept of change is an issue which drives both the linear narratives of 6 and Mean Girls.
Change is the quintessential consequence of time and as long time exists so will change. Change in Mean Girls effects the narrative in where the protagonist, Cady Heron, ceases to become her once-was self and transforms into a Plastic. “You’ve turned into a plastic” is a piece of dialogue directly aimed at Cady when having an argument with her best friend Janis - during the climax of the film. By using the term ‘You’ve’ Wiseman insinuates change within the protagonist and stems with the negative connotations affiliate with the label ‘Plastic’. In the novel 6 change is similarly projected by rather indirectly, Linking to the theme of relationships (which also progresses linearly) Sarah comments on Poppy’s power and also labels it; but as ‘Childish’ in “Im sick of your Childish games.”, implying that Poppy is immature and not growing up in the regard of mentality. Poppy’s change or rather, lack-of, is portrayed through her continuous insistence that her psychological power is evidently definite - This change however is not only influential in their relationship but influential the story line in general. The change in both texts are both linearly linked to narrative and time due to the composite nature of change - and it allows the responder to perceive change as long as the linear plot is correctly
followed.
In conclusion, the themes and issues of Secrets, Relationships are effectively portrayed in both texts - allowing the responder to perceive each. Irregardless of the methods used or the techniques familiarised - each text through their own narrative processes convey these themes which seemingly correlate with one another; either through linear plot or characterised alterations. Tayleur and Wiseman compellingly and logically position the themes and issues of interest to be perceived by the responders.