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If viewed independently, Clueless appears to be a stereotypical teenpic, not encompassing any obvious depth. However, if examined in relation to Austen's Emma, Clueless can be seen in a new dimension. That is, a successful transformation of Emma, in terms of re-presenting "traditional" themes. On the other hand, this success is somewhat undermined by Heckerling's use of language, characterization and her blatant trivialization of Emma's thematic and plot intricacies. All of these factors, whether enhancing or devaluing to the original Emma, contribute to portraying the majority of aspects (such as characters, themes, plot, setting and style) in a new context; that is from Austen's slow pace society the quick paced life of the 10s teenager, thus confirming that Clueless should continue to be studied in schools, though only in conjunction with Austen's Emma (to show the transformation clearly).A film text uses both visual and aural techniques in developing characters and establishing themes. Combining these techniques allows the audience to distinguish deeper meanings, i.e. reading between the lines, as the viewing material is consistently interesting and relevant, rather than mundane or monotonous. The tone of the actors voice, with a dramatic roll of the eyes, quickly express a character's feelings, which words would take up to a few paragraphs to depict. The key factor in transforming Clueless from old fashioned to updated "reality" is this alteration of speed between the texts..Emma is a four and a half hundred-page novel that takes at least a couple of weeks to read, mainly due to the considerable length of time devoted to establishing characters, setting and plot. Heckerling embraces the fast pace lifestyle of teenagers and uses it to gain audience attention when the film begins. The loud music along with quick changing, oblique camera angles establish the characters, their activities and their carefree attitude to life. Small conversations can take minutes to read and hours to compose but to hold audience attention they need to be short, sweet and humorous. This is achieved in Clueless as conversations last only seconds allowing the plot to keep moving.In transforming a text, language to a certain extent must be altered to suit the times. Austen uses typical nineteenth century phrases such as "she would detach her from bad acquaintance, and introduce her into good society". The equivalent quote in Clueless is "Ooh, Project!" By altering the language and decreasing the spoken text, Heckerling creates a relatable text, one that is so easily understood and absorbed by a modern audience, that it degrades the eloquence of the original Emma.
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Clueless is a successful transformation of the traditional values displayed in Emma. Both texts display dominant links to the following theme.•Social status is reliant on personal relationships, wealth and imag.•Finding a successful romance is the "happy ending.•A child's personal development relies on successful parental inpu.In relation to Emma, Clueless also shows how time (and social/cultural changes) has dissolved the past intimacies between family members. All of these themes are apparent in the relationships between and the behaviour of the main characters in each text.Both texts end with what the audience considers a happy ending; Josh and Cher begin a "serious" relationship together, whilst Mr. Knightley and Emma proclaim their vows through marriage. This particular traditional value is altered to suit the times, but still prevails as on of the dominant themes of both texts. As the characters of Clueless are only in their late teens, it is inappropriate for them to get married, thus Heckerling adapts the plot so a marriage still occurs, between Miss Guiest and Mr. Hall, and the audience sees that Cher and Josh, Tai and Trevor and Dion and Murray are committed to each other (mainly seen through the girl's incoherent babblings concerning their future wedding plans and motifs).Social status is reliant on personal relationships, wealth and image is another value present in both texts, and is represented in Clueless. In Emma, Harriet persuaded by Emma's delusions that she should aim to marry someone of higher class (i.e. Mr. Elton) and not the man she is unknowingly in love with (i.e. Mr. Martin). The same incident is transposed to Clueless. When Tai (Brittany Murphy) expresses an interest in Travis (Breckin Meyer) - a loadie Cher (Alicia Silverstone) quickly uses her influence "as someone [one month] older" to guide Tai away from him - as "no respectable girl actually dates them [loadies]". Parallel to Emma, Cher persuades herself and Tai, that Elton is a much more suitable suitor, especially once Tai has debuted as a girl of (dubious) high social status. Elton's rejection of Tai as a suitable'match' enforces the social barriers created by wealth and image. Elton replies to Cher's confusion - "Don't you know who my father is?!" A similar reply is received from Mr. Elton's who condescendingly explains, "Everyone has their level".Though both Emma and Cher influence the status of Harriet and Tai greatly, the creation of this high status through image is enforced in only Clueless. The high consumer demand and instant gratification levels produced throughout the highly economical and technological advancements of the 180's left a severe aftermath. That is a 0's world reliant on personal image and possessions for grading one's self, as opposed to the "traditional" values of behavioural attributes and personal talents. Cher demands only most apt clothes and matching accessories, emphasized by her "outfit management" software. Even when Cher is held at gunpoint, she fails to recognise the gravity of the situation, as she is occupied with the inevitability of ruining her "totally important designer" dress. Cher's emotional maintenance techniques consist of regular trips to the mall, never leaving empty handed. Furthermore, when Tai is introduced to Cher's P.E. class, someone mutters; "She could be a farmer in those clothes". This is both a play on Mr. Robert Martin (the farmer) and an indication that her taste in attire is not appropriate for her to reside among the high-level socialites, a factor which dominates Dion and Cher's "make-over" efforts..The final dominant theme of both texts, is the belief that a child's personal development relies on successful parental input. The audience views both Emma and Cher as spoiled and sheltered individuals, lacking discipline and moral dignity. Both of their mothers died during Emma/Cher's early childhood and perhaps not as a direct result, live with an overindulgent father. Cher's modern situation, means that Emma's mentally vacant father is transformed into a disciplinary and morally vacant father. (For example he is ecstatic when Cher's reveal that she argues her way from a C to a B-minus, as his position as a litigator relies on such personal traits...
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