In the opening of the novel, Emma is introduced as “Emma Woodhouse, handsome, clever and rich with a comfortable home and happy disposition”. The descriptive language automatically allows the audience to realise the protagonist’s values of the social class throughout England 1800’s. The use of authorial comment “the real evils indeed of Emma’s situation were the power of having rather too much…” is just an example of her arrogance, shown in her bragging of exceptionally matching couples which clearly proves how highly Emma thinks of herself.…
Clueless, an adaptation of Jane Austen 's 1815 novel, Emma, is a 1995 American film by director, Amy Heckerling. The comedy serves as a 20th century update of the original text that shifts into creating a contemporary Emma, one for our own era. Though Clueless seems to set forth on building its reputation on a completely new, distinct ground, it is not an entirely different work of art. Considerable amounts of uniformities between the adaptation and Emma can be pinpointed throughout. As “Clueless is most faithful to Emma in its recreation of the plot involving Mr. Elton, Harriet Smith, and Emma” (Troost, Linda, and Greenfield 124), several parallels between the two distinctive texts, concerning this matter, can be recognized. One outstanding example is the correspondence and connection between the modern photography scene in Clueless and the sketching/painting of Harriet’s portrait in Emma. Hence, along with the novel’s highly persuasive guidance and the two’s so-called loose relation, various similarities as well as differences are inevitably present.…
Parallels are drawn between the values and attitudes of post-modern and regency society in Emma 's carriage incident and Clueless ' car scene. In Emma, Mr Elton displays complete disgust and outrage at the notion of marrying the socially inferior Harriet, exclaiming 'Good heaven! What can be the meaning of this? ' This segregation and incompatibility of differing social classes is also portrayed in Clueless through Elton 's outburst of 'Don 't you even know who my father is? ' revealing the transcending importance of family background and social connections, and the superficiality within both societies.…
The 1990s have seen Jane Austin novels become more popular than ever. Hollywood, as is its custom, has followed suit, bringing to the screen several Oscar-nominated films faithfully based upon the author's works during that decade. Why would our modern society still be charmed by these novels, written by a woman who never married or even traveled outside England? How can these 200 year-old stories be relevant to our jaded culture? Probably because, despite all the radical social changes that have taken place since Jane Austen's time, people haven't really changed all that much. Heckerling’s film Clueless, an adaptation of Emma, shows that although society’s values have changed, the status quo still exists and is just as rigid nowadays as it was in the nineteenth century. However, because Clueless is set in a different time to Emma and because Heckerling uses a different medium to Austin, there are bound to be changes between the two texts.…
Some of you may have heard of the classic novel Emma, by Jane Austen. However, have you ever considered that Emma is Clueless?…
Regency England displays Emma’s naivety in which her pride and vanity causes her to meddle with other characters, blindsided by her own wrongdoings. The omniscient voice “The real evils, indeed, of Emma’s situation were the power of having too much her own way, and a disposition to think a little too well of herself…” aligns the reader with Emma encouraging her own imaginative mind and vanity where her actions cause her to act in problematic ways other characters. The repetition of personal pronouns, “I have none of the usual inducements of women to marry…I never have been in love…I do not think I ever shall.” explores Emma’s belief that her wealth allows her to be financially secure with reassurance that others will not treat her like Miss Bates for her decision to remain single. The use of narrator’s anthypophora in “Why she did not like Jane Fairfax...she saw in her the really accomplished young woman, which she wanted to be thought herself.” exhibits Emma’s jealousy as she sees Jane as a threat to her ego because she may carry more accomplishments than herself which leads to her initial dislike of Jane. The prominence of pride and vanity creates problems as a consequence as it blindsides one’s better judgement. One’s importance of materialistic items continues to be a main feature in the modern…
Generally one would assume that our society has changed considerably since Jane Austen's times and I do not want to argue the opposite. In some ways, however, we are still concerned with similar problems. Especially coming of age is a topic which has not lost any of its currency. This can nicely be seen in the 1995 Hollywood remake of Jane Austen's Emma Clueless. Director Amy Heckerling transferred the story originally set in Highbury in Surrey of the early 19th century to Los Angeles of the 1990s. In the following I would like to compare Austen's novel with Heckerling's movie adaptation. Because of the limited length of this essay I shall mainly concentrate on the…
Amy Heckerling transforms the many values and issues conveyed in Jane Austen’s Emma, set in the 18th century in Highbury to her teen pic film Clueless set in the 20th century, in a high school society. Both texts involve a protagonist, being Emma in Emma and Cher in Clueless who meddle with the relationships of others as their interest, while being “placed in the midst of those who loved her, and who had better sense than herself”. The protagonists are morally transformed towards the end of the film and novel when they slowly realise the error of their ways. The texts explore unchanged values while highlighting society changes through the transformation of values. Heckerling and Austen convey the values marriage, integrity versus wealth and social status through cinematography and writing techniques such as dialogue, characterisation and stereotyping.…
Clueless sustains interest in the patriarchal values and social stratum of Emma by manipulating the mediums for relaying information to the audience and allow them to resonate with the messages portrayed by Austen. The teenpic Clueless (1995) directed by Amy Hecklering employs the materialistic world of LA to make a multi-layered social commentary about the patriarchal values and social strata elucidated in Jane Austen’s 19th Century novel, Emma. Hecklering draws parallels to the rigid social hierarchy of the Regency period and the role of women in a patriarchal society with issues pertaining to female power and control, present in Emma. In order to sustain interest Hecklering has transformed aspects of the mediums portraying the themes in the Regency Period novel Emma to allow the values represented to resonate with the modern audience of a materialistic era.…
determined by family lines and inheritance. It is in the upper class of society that Jane Austen places her protagonist, Emma, “handsome, clever and rich…with very little to distress or vex her”. Emma’s desirable situation had led her to possess a self indulgent attitude towards life, as Austen intends her audience to identify with the cynical remark that she has “the power of having rather too…
PB: The values and attitudes that Austen has chosen to explore in Emma address the strict nature of social classes and the consequence of self-awareness.…
The actions of Emma lead to the emotional pain that Harriet went though. She gave a poem to her from Mr. Elton, convincing herself and Harriet that it was a marriage proposal.(88) When Emma broke the new of Mr. Eltons true love to her, she was heartbroken. Harriet later got over the pain and found a new love. She confessed to Emma her love for Mr. Knightly.(471) Unfortunately for Harriet, Emma also loves Mr. Knightly. This is a dangerous situation for Emma because she does not want to hurt Harriet anymore than what she already had. Emma took the risk and told Harriet the truth of her heart. Again, Harriet’s emotions were hurt. (480)…
Transformations often involve using the same storyline of a text and changing its context in order to suit the environment, culture or society. In terms of highlighting the themes in a transformed text, it also indicates that the issues that were apparent in the past are still relevant to the current society. The director of the film “Clueless”, Amy Heckerling, has accomplished this through convenient transformation of Jane Austen’s novel “Emma”. Heckerling has supported Austen’s novel in a positive way, however has altered the values seen in Austen’s period to fit modern audiences. The themes of “Clueless” show the context of “Emma” in a contemporary period, converting the text to a well-known high school society in Beverly Hills. Amy Heckerling’s production of “Clueless” presented in 1995 expresses the typical parallels between features, characters and values of the novel “Emma”. In relation to the re-plotting of the text, Heckerling successfully substitutes the values regarding social class, manners, formal conversation and importance of self-image of the novel “Emma”, into another world of social…
The notion of the necessity of romantic love, marriage and the expectation of woman are all equally important themes in both texts. Although, these themes are evident throughout both ‘Emma’ and ‘Clueless’, they have been transformed from Emma’s context to suit the audience and the context of ‘Clueless’. The themes that are evident in both texts are constantly defined by gender. Austen’s narrative characteristic for the novel ‘Emma’ is an ironic and amused commentary conducted by the narrator when describing the character’s actions. In Austen’s novel, an early description of Emma’s character, narrated from Mrs Weston’s perspective, in fact is an ironic publicity of Emma’s faults. “She could not think, without pain, of Emma’s losing a single pleasure, or suffering an hour’s ennui, from the want of her companionableness: but dear Emma was of no feeble character; she was more equal to her situation than most girls would have been” The irony of this part of text is that while Emma ultimately does not have any trouble finding new companions in her social group, her idea of companionship is to manipulate others into advantageous marriages. Furthermore, shown with this example is Emma’s obsession with marriage which subtlety makes socially related comments on the unequal status of women. This originally descended from the cultural status of…
Emma embodies the value of social class by the determination of individuals status through family background, reputation and wealth in the micro of Highbury. Austen employs authorial intrusion to secure and characterize Emma in the first line of the novel, ‘Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence’ to establish Emma’s social class but to also mock Emma as she views herself as above others. Emma abuses her power of wealth and status and views herself as an excellent matchmaker, however she is too naive and her observations are misplaced as Emma attempts to raise Harriet out of social oblivion. The situational irony ‘do not take to match making. You do it very ill” mocks Emma and the hilarity of her attempt to bring Harriet Smith to an equal social level as herself. Austen asserts that she is not an appropriate member of high society and would never be accepted if it were not for Emma’s influence. Mr Elton, when aware of Emma’s plans to attach him to Harriet, expresses his incredulity through hyperbole “I never thought of Miss Smith in the whole course of my existence…never cared if she were dead of alive…” He vehemently opposes any notion of romantic attachment to a social inferior, offering a satirical insight into the shallowness and inflexibility of the post industrialization class.…