Transformations

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Transformations

The process of transformation involves more than just the adaption of ideas and form to contemporary situations

The process of transformation involves more than an adaption of ideas and form to contemporary situations. It offers the audience with a greater sense of clarity of the ideas presented, and its representation also stimulate the audience with new perspectives with which to view the original text. The movie Clueless directed by Amy Heckerling is a transformation of Emma by Jane Austen. The universal themes explored in Emma allow for effective correlations in Clueless whilst the differences in time and setting of the two societies account for the necessary adaptions of form and techniques used to communicate the similar ideas of the texts. In Emma, Austens extensive use of dialogue, description and authorial intrusions allow for more vivid characterisations whilst the bright colours, music and camera angles articulated in Clueless convey the essentially same messages with brevity and greater animation, to suit the contemporary audience, and its classification in the teen-pic genre.

The primary idea in Emma and Clueless is the growth into knowledge and self-awareness in the characters of Emma and Cher respectively. In Emma, a focal scene contributing to Emmas development was the incident in Boxhill. Her rude remark to Miss Bates followed by an unaffected reprimand by Mr Knightley held Emma under an almost overwhelming sense of remorse, painted through acute authorial intrusion into Emmas feelings.

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As she reflected more, she seemed but to feel it more. She had never been so depressed. (67)

Austen manipulates this technique effectively through her ability to astutely convey emotion through language. As a consequence of this incident Emma comes to acknowledge her position and hence her responsibilities and expectations of her in Hartfield. Her growth from her inappropriate behaviour is proved through her sincere apology to Miss Bates the next day.

In Clueless, Chers most impacting growth to self-awareness occurs after a series of events- a disagreement with Josh, failure in her driving test and surge of tension in her relationship with Tai. After this, the audience is presented with Cher from a long shot, walking down a flight of stairs towards the mall, projecting an interpretation of Cher in a sense of isolation within her familiar environment.

Everything I think and everything I do is wrong. I was wrong about Elton, I was wrong about Christian, and now Josh hated me...

In Clueless, instead of authorial intrusion, Heckerling uses the voice-over of Cher to provide the audience with direct involvement into Chers thoughts, allowing insight into the events through Chers perceptions as well as knowledge of the reality of the situations. The repetition I was wrong about...I was wrong about... together with Chers visual expressions enhances upon the poignancy of her emotional turmoil, attracting the audience closer towards Cher to experience her as a breathing creature. In comparison, written text, particularly through the perspective of an omniscient narrator can not express this sense of direct involvement to the proximity of which film techniques can exploit with ease. Hence, through the transformation of the growth of Emma to the growth of Cher, Heckerling not only adapts the ideas in Emma to Clueless, but also supplies it with greater immediacy to satisfy the contemporary audience, and allow them to perceive Emma to be more animated than the grant of their original expectations.

The most obvious difference between Emma and Clueless lies in its setting and lapse of nearly two centuries of time. Emma is set in the Victorian society of the early 1th century, in the microcosm of a prosperous hierarchical village society. The Woodhouse and the Knightley estates and history establishes their powerful standing in Highbury, whilst the Martins and Bateses, with their lack of connections and property represent those of the lower caste. Mr Knightley aligns himself accordingly with his responsibilities as a gentleman of high esteem in Highbury. Austen shines integrity and compassion in his character through the genuinity of his every speech, judgement and service.

No, he is not her equal indeed, for he is as much her superior in sense as in situation. Emma, your infatuation about that girl blinds you. (87)

Austen manipulates the style of his speech, his every sentence is direct and true and yet reveals the affections in his heart. It is to a significant extent due to Mr Knightleys position in relation to Emma socially that allows him the benefit of correcting her, and of her taking value in his good opinion. It is in such a way that Mr Knightley becomes the paternal figure in Emmas life, and the major example of gentility and moral uprightness from which Emma and other characters also draw upon.

Likewise, Josh in Clueless, assumes a position of greater knowledge, as he is a college student and also because of his experiences and understanding of the world beyond Los Angeles. However, the social hierarachy apparent in Chers world does not apply to Josh as it does with Mr Knightley. Josh is inevitably an outsider to Chers social circle. The social stratum in Clueless takes place within the school, where popularity is the standard of judgement. Despite this however, the role and influence of Josh upon Cher remains essentially unchanged from the original text. Heckerling exposes the character of Josh particularly through the image he conveys in his costuming. He dresses unfashionably, wearing shirts in support of the Breast Cancer Foundation and Amnesty International, thus revealing his charitable nature and indifference to self-image.

He dresses funny, he listens to complaint rock, hes not even cute...in a conventional way...And hes a hideous dancer, I couldnt take him anywhere.

While Austen presents Mr Knightley at the highest position within Highbury, Heckerling presents Josh alien from Chers social associations, and through their respective management of their positions, elevates the virtue in their characters. Consequently, through Clueless and Emma, the audience can appreciate Josh and Mr Knightley as the source moral guidance for Cher and Emma, and also perceive the different level at which the social hierarchy of the two societies operate.

Emma and Clueless explore the role of women in the context of their respective societies. At surface level, it is justifiable to claim that women in Chers society no longer require a male figure to depend upon, however, the undertone of Heckerlings piece is some aspects is essentially very conservative in this aspect, to the extent that may haunt the audience into the realisation that the role of women in this contemporary society may not have experienced the vast changed so pronounced. In Emmas society, the ultimate goal of women was to find a suitable partner for marriage, one within financial situation and in the appropriate social sphere. A good marriage secures them from the horror of working and ageing to be a poor old maid. Austen uses dialogue extensively to develop the character of Miss Bates, an old unmarried spinster, to satirise light-heartedly the consequence of being both poor and unmarried.

That will do just for me you know. I shall be sure to say three dull things as soon as ever I open my mouth, shant I? (64)

From such a perspective, the role of women, particularly those not born into wealth or connection, in this patriarchal society appear to be very confined and domestically concerned.

In Clueless, women appear to have acquired greater independence and financial control. Cher and Dionne as well as all the other females can lead a financially stable and respectable life without marriage. Despite this however, there still appears to be an inclination for the female to depend upon the male, and marriage still remains as the ultimate goal. Shifting our concentration from Cher to the adult world of Clueless, it is brought to our awareness that even in this globalised city of Los Angeles, the positions of great power rest with the males.

Daddys a litigator. Those are the scariest kinds of lawyers. Even Lucy, our maid, is terrified of him.

Chers father, his working partners, and Eltons father who can get you into any concert are all authority possessors in this society, and are all male. The authority of Chers father is initially established through a camera angle which captured him from behind facing down upon the staircase in the house. It is maintained to some extent through the strong tone of voice in which he often chastises Cher with. Women is still presented to be the gender that performs the domestic duties. This is seen through Cher taking care of her fathers eating habits and Joshs mother ringing him to go home. Hence, Clueless is more than an a mere adaption of form and ideas from Emma as it allows the audience to comprehend and deduce the extent and nature of the changes in aspects such as the role of women over the years.

On several levels, the composers of Emma and Clueless, impart their views upon the matters of vanity and of the superficial and satirises the issues concerning it. Austen assigns a distinctive voice to every character in Emma, amongst which there is one where Mr Woodhouse feels to rather hurt the ear. (81)

...and I must do my caro sposo the justice to say that he need not be ashamed of his friend. Knightley is quite the gentleman. (80)

Mrs Elton refers to Mr Elton as her caro sposo to stress her status as a married woman, and presumes that this gives her precedence even over Emma. This reflects upon her superficial nature and gives way for Austen to present criticisms of the attitudes of the Victorian society, through humourous authorial commentary and particularly through responses from other characters.

Actually to discover that Mr Knightley is a gentleman! I doubt whether he will return the compliment and discover her to be a lady. (81)

This is a technique often embraced throughout the text in Emma, as it exposes aspects of character mentioned as well as the character who projects this response. Emmas dislike of Mrs Elton originates Mrs Eltons arrogance of which is heightened in Emmas perceptions due to the inferior position of Mrs Elton as having a merchant background. This reveals also, Emmas class consciousness and hence her superficial nature aswell.

Heckerling transforms this aspect from Emma to Clueless, accumulating her ideas of superficiality into a context that concentrates more on an appearance-based vanity. Heckerling creates this image through the use of garish colours, costuming and incidental music all of which complement the stereotype. The opening of the film uses a montage encompassing all such devices, presenting Cher and her life. This together with the background music Kids in America escorts the film to its commercial and superficial path.

But seriously, I actually have a way normal life for a teenage girl.

Chers perception of her way normal life is voiced while she is displayed, selecting clothes from a computer, an obvious oxymoron. This use of irony cleverly reveal the commercial setting of Clueless, whilst also embarking upon the disparity between Chers perception of an event and the truth of the event itself. Austen and Heckerlings representation of the superficial vary significantly. In comparison, the transformed Clueless appear to satirise the superficial facets of the society in context. With respect to this, the audience is justified to feel that Emma is ironically more reflective of the contemporary American society than Clueless. Regardless however, Clueless re-enforces the transformed nature of superficiality exposed through mindless conversation to make-overs, easing the audiences comprehension and relation to Emma, in addition to adaption merely for the enjoyment of Clueless itself.

The process of transformation extends beyond an adaption of ideas and form to contemporary situations. Through the different contexts and the adaptions necessary to faciliate them, the audience can come to appreciate the essence of the original text through the contemporary transformation. The transformation of ideas between the texts provides the audience with deeper insight into the changes that have occurred through time. The transformation of form, have supported an alternate perception to the original text. The techniques used due to the form and intended audience are vastly different between Emma and Clueless, and when viewed together, provides a magnified impression upon both texts. This is because the similarities of the ideas presented is emphasized to the audience through the different techniques used to explore them. The strength of one text influenced by the skill of the composer and form and it compensates for the weakness of the other, for exactly the same reason.

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