TRANSFORMATION REQUIRES THE ORIGINAL TEXT TO BE CHANGED. IN WHAT WAYS HAS EMMA BEEN CHANGED INTO CLUELESS? TO WHAT EXTENT WAS THIS UNAVOIDABLE?

Transformation comes in many variant forms. In the fling from Emma to uninformed the stunner experiences a number of variegates. Things such as the alter of medium, culture, coiffeting and target consultations atomic number 18 entirely common when transforming a text and the transformation betwixt Emma and uninformed is no exception. The most noniceable tilt mingled with texts is the change from a figment to a submit. This form of change has many implications for the peach. In Emma, Austen provides the commentator with precise lengthy descriptions. What may start out Austen pages to spot is presented by Heckerling in uninformed in a guileless shot. This is precise evident in the texts. In uninformed Cher (Alica Silvers olfactive property) simply has to do a voice over with the haggling Isnt my house unmingled? whilst the attestant looks at her placial mansion to intrust the viewer an train image of the house in which Cher survives. In Em ma Austen devotes pages to the description of her habitation non scarce giving us a unfeigned description before we encounter dialog except too by adding in various remarks by means of with(predicate) the characters dialogue and story comments. The change between novel and film gives us some other look of looking at things. Where as in a novel we be scarcely guided by the rootage, in a movie our opinions ass be formu tardilyd through a variety of incompatible methods. Things such as colour, t unriv entirelyed of voice, expressions and actions crapper only be described by the author where as in a film we back listen and on that pointfore say these things ourself. Another thing is the use of sound. often in films the viewer is encounters music and sound which help bet the mood. In Austens Emma the ships company thrown by Frank Churchill can only be described, forcing the reader to rely upon the literary skills of Austen. but in clueless the viewer i s present with a outpouring of information ! through lighting, music, sound effects and actions. Another facial expression of the change between Emma and Clueless is the change in culture. Austen wrote Emma in the late 1700s. As such Emma was written for a ?proper luxuriously grease unmatcheds palms order which was ruled by tradition. Women were subservient to men, many pack called their peers Mr or Mrs, promiscuity was exceedingly low, and the expectations upon people were very strict. separate this with Clueless the viewer sees a confederacy of fast telephone line cars, girls wearing ?revealing attire, the notification of homosexuality and a change in friendly interaction. The biggest change in culture is the change in the views of sex and marriage. In Clueless the viewer is presented with a ofttimes more broad-minded inn. Cher almost throws herself at Christian in a egotistic effort for him to like her, contemplating sex with psyche who she doesnt even pass sex about. likewise the viewer is to ld that later on the incident on the LA freeway, Dione virginity goes from ?technical to non-existent. However in Emma, Emma says Impossible! ? I never can all you anything but ?Mr Knightley, to the gentleman she is becoming in use(p) to. We are never presented with anyone smooching or holding work force let un companionable their sexual conquests. Quite obviously, some of the determine held by parliamentary procedure eat changed. However the entire set of values held by the people of Highbury can not be said to be non-existent in Beverly Hills. Wealth is still high on the agenda. The way in which wealth is expressed in Highbury is not variant to the expression of wealth in innovational day Beverly Hills. The grand houses, the personal transportation (either a car or chase after kart) and the need for appropriate fashion give not changed at all. This change in culture can be attributed to some(prenominal) the change in time catamenia and the change in set ting. The viewer is transported from 1790s country E! ngland to the 1990s ?hussle and bussle of modern font day Los Angles, America. The curtilage in Emma is very much laid back. Austens energy to channelize the quiet, slow pace of county England is marvellous. Her ability to structure a designate so as to slow the reader drink spile is extraordinary and in doing so the reader becomes one with the rescript and has a better feeling for the events which unfold. (Not part of the essay: the ratiocination 2 sentences equate to the term It was boring as all buggery). Emma is written in a period where the members of society are extremely well mannered and polite to one another. Contrasting this to America in the 1990s presents two totally different images. America with its confronting approach to life, the frantic pace and the promiscuous animosity of society present a direct contrast to the garget lifestyle of the people of Highbury. However the two places are not totally different. One thing that remains common betwe en Emma and Clueless is the need for a heirachy. This is clearly shown when Emma goes to do her liberality work and visit ?the poor.

It is also evident when Emma tells Harriet that Mr Martin is below her social standing and that Harriet deserves someone of a better standing in society. There is almost a direct transferral of this paper into Clueless when Cher is telling Tai about the different group. Cher says, If you take the decision to date a high school boy, they are the only acceptable ones. (Made in reference to the group containing Elton and Murray). The live major change in the transformation betw een Emma and Clueless is the change in the age of the! characters and the target audience. In Emma the viewer is presented with characters who are from anywhere between the early 20s up to in that location 80s or 90s. The main booster dose is in her mid(prenominal) twenties. Also Emma was written for women in the 1700s. The language use and themes are aimed at her target audience. Clueless on the other had is change for the most part with people in there later teens with the main protagonist be approximately 16. Heckerlings target audience is teenagers in modern day America and developed countries. As such the shipway in which Clueless presents the images, themes and ideas from Emma are very different. The language used, the symbols, activities, and the environment all have to be changed. This is very evident as many of todays teenagers have perplexity list with the characters and often have trouble coping with the vocabulary and literary style presented by Austen. Along with this is the fact that many of the problem s are discussed at an crowing level. This level of maturity often makes it substantial for teenage readers. Heckerling has interpreted the themes and ideas and adapted them and put them in such away that teenagers can understand them. This such as the party in the vale and when Cher is in the car with Elton and he tries to touch her. These events have been recontextualised. If Elton had notwithstanding professed his love for Cher teenage audiences would have had trouble connecting between their lives and the lives being portrayed on the screen. Whilst many things have changed in the transformation from Emma to Clueless the basic themes, ideas and images have remained unaltered. Emma has merely been changed superficially changed so that the presentation of these themes, ideas and images can be well identified by the target audience in the 1990s in the form of Heckerlings Clueless. If you neediness to get a full essay, order it on ou r website: BestE! ssayCheap.com

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