somewhat modern adaptation of Jane Austen’s novel Emma examines the congruent ideas of self-knowledge and social obligation. Through the characterisation of the protagonists‚ Cher and Emma‚ who are perceived to be perfect in every way‚ possessing many virtues‚ as they are ‘handsome‚ clever and rich’. However they are only seemingly ‘perfect’‚ as we soon find out that they are flawed by a deluded sense of importance and a general lack of insight. Austen and Heckerling acknowledge their potential for
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represented in Austen’s "Emma"? 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
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READER RESPONSE TO AUSTEN’S NOVELS Jane Austen is generally acknowledged to be one of the great English novelists‚ so it is no surprise that her novels have remained continuously in print from her day to the present. Contemporary reviewers found much to praise in them. Reviewing Emma for the Quarterly Review (1816)‚ Sir Walter Scott characterized its strengths and weaknesses: The author’s knowledge of the world‚ and the peculiar tact with which she presents characters that the reader
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Kate Smith Analysis of Extract from Chapter 3 of Pride and Prejudice The novel Pride and Prejudice by Jane Austen was first published in 1813. The novel has a third person narrator‚ is romantic fiction and covers themes such as love‚ romance‚ marriage‚ reputation‚ money‚ status‚ class and hierarchy but it also deals with the social changes that were happening at the time including more social mobility due to ‘new money’ and the role of women in society as they began to try and break down
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How does the composer of Clueless use film techniques to transform the social‚ historical and environmental context of Jane Austen’s Emma to the modern context of Clueless? Amy Heckerling’s Clueless involves a storyline‚ which closely follows the text of Jane Austen’s novel Emma. However‚ there are some key points of difference in the transformation that has taken place. This is due to the individual context of the nineteenth century prose text and that of the modern appropriated film text. The
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techniques of the composers are demonstrated by the final chapter of Emma and Scene Three of Clueless‚ at the school walkway. On the one hand‚ we have the small‚ traditional English village of Highbury. On the other‚ Beverly Hills‚ icon of consumerism‚ globalisation and change. Both are experiencing escalating social fluidity as wealth becomes the main criteria for social status‚ rather than land‚ family or race. Austen and Heckerling suggest that personal worth should be valued more highly
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circumstances involving different composers‚ whether they are social‚ cultural or historical‚ influences vastly on the thematic concerns of every text. The author‚ Jane Austen’s context‚ the Regency Era‚ profoundly shapes the canonical text‚ Emma. In her novel‚ Austen continually explores aspects of the patriarchal society of her time‚ its rigid social structure‚ the value of birthright and wealth‚ as well as the great worth of marriage to women. From the beginning‚ the concept of male supremacy is
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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
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Feminism in Jane Austen "I often wonder how you can find time for what you do‚ in addition to the care of the house; and how good Mrs. West could have written such books and collected so many hard works‚ with all her family cares‚ is still more a matter of astonishment! Composition seems to me impossible with a head full of joints of mutton and doses of rhubarb." -- Jane Austen‚ letter of September 8 1816 to Cassandra "I will only add in justice to men‚ that though to the larger and more trifling
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Mr. Knightley and Emma are opposites for most of the book in many ways. Emma is fake happy and thinks she does nothing wrong. “The real evils indeed of Emma’s situation were the power of having rather too much her own way‚ and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments.” (Austen 2). Emma thinks she can be truly happy by doing whatever she pleases. She also has no awareness of where social bounds are and often crosses
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