When comparing the two text, the famous novel Emma by Jane Austen and The teenpic Clueless,

directed by Amy Heckerling, the audience gains new insights into both text through the process of transformation. Through Austins ironic, third person voice, which tells of the story of Emma, the twenty one year old who had very little to distress or vex her, Austen comments on many aspects on her society, such as societal values and the class system. Heckerling takes the main plot of Emma, and transforms it so it fits in to the context of the 20th century, telling the story of Cher, who knew what it was like to have people jealous of her. Set in Bronson Alcott High School, Beverly Hills, the audience is offered a rigid system of social stratification through clichs, a replay of the complex hierarchies of Highbury, which are established with the cameras establishing shots of the different social groups in the school. By reflecting a very different sociohistorical context, Clueless enables to gain new insights into the world of Austen, while Emma in turn gives new insights into Clueless. The process of transformation re-expresses a story told for one audience's time and context, using methods appropriate to another time and context. Thus in the transformation of Jane Austen's classic novel of manners Emma, told for a readership of complacent 19th century gentry, into Heckerling's post-modern teen-pic Clueless, told for a cinema audience of average teens, Austen's original directives transform as the context's shift and additional impulses emerge. Through director Amy Heckerling's manipulation of cinematic techniques, the setting and timeframe have been changed as well as the social milieu; however, similarities still exist alongside the cultural and historical discrepancies. Heckerling does not merely transform balls into valley parties, and visiting to shopping, but uses these contemporary signifiers for old fashioned elements to comment on new aspects of her society which give new meaning to the text, showing that it is not merely a pale adaptation. This can be seen in the conversion of carriage into cars and the replacement of endless walking by continuous driving. Heckerling uses cars, and adds the dilemma of a driving test to ridicule the mentality of the heroine, and to show how women in this context are more independent than those living in the 19th century. Chers inability to safely drive is also used as a metaphor illustrating her poor steering of the life of others through matchmaking. Clueless provides a corollary to the complex hierarchies of Highbury, examining the classes in Heckerlings contemporary society, just as Austen does in Emma. In Beverly Hills, specific indicators of status include cars, technology, mobile phones and plastic surgery. Breeding is not as significant as it is in Austens time, hence the classic 1972 collumned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. Jobs like doctors and lawyers hold the same prestige as landowners from Emmas time. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus, and determines the kind of person rather than attending the church as in Emma. Austen demonstrates the factors determining class with the character Harriet, who was the daughter of somebody. The issue of kinship and birthright has been replaced in our times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual

alliances. Both these factors in each contemporary society makes both girls unmarketable on the marriage/dating arena. The film creates both parallels and transformations of the class structure, pointing out to the audience that class still exists, but changes its name and boundaries when transferred to the culture of Western teenage life. The transformation of Emmas 19th century class-conscious rural village into the heart of the 20th century shows the extent of Heckerlings modification of historical and cultural contexts through the process of transformation. Societal tiers with social groups such as The Persia Mafia, with all the BMWs, and the Ladies, the boys who no respectable girl actually dates are shown through the establishing, panning shots of the school, as well as the clothing of each individual group, such as the loadies with their flannelette shirts. These cliques are as rigid as the social groups in Austens time, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis, while Mr Knightly/Josh, who represent the upmost class end up with Emma/Cher who live in a world which afforded them no equals. Heckling examines how Tai and Travis are on the same level with their common interest in Marvin the Martian, an allusion of popular culture. Clueless provides an equivalent to the social hierarchies of Highbury with similar prohibitions against crossing lines of each social class. Clueless exemplifies how popular culture re-appropriates Austens novel to serve updated agendas. The transformation process allows the responder to see both texts as pleasing replays of each other and gain new insights that they would otherwise fail to realize, which thus allows the responder to compare the class system of both eras. Just like Austen, Heckerling examines the values embedded in her contemporary society. This is achieved by manipulating the expectations of their audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, is challenged with the fact that she has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. Both author/director set up a paradox, causing each audience to confront their own preconceptions concerning each stereotype. In both texts, each heroine finds the social stability they were looking for through marriage/sexual connection and we see despite the different contexts; both have the same hopes and desires. Values are examined once again in each text with the characters of Frank Churchill and Christian who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. Clueless however cannot afford to offer to offer subtle signs due to the compressed genre

and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past. Each text examines the values of their contemporary society, and the ability to argue grades from a c plus to an A minus is a metaphor of a misplaced value system seen in the society of Clueless. The values embedded within each text are indicative of the socio-historical conventions of each context. By comparing each text responders are allowed to have two windows of perceptions to view the vales in each context in different ways. This allows for an understanding of each text to develop and reshape. Transformations of well known texts are pale reflections of the originals Discuss this statement in relation to the TWO prescribed texts you have studied. While some transformation of well-known texts may be pale reflections of the originals, this certainly isnt the case with Heckerlings adaptation of Jane Austens novel Emma. Through Austins ironic, third person voice, which tells of the story of Emma, the twenty one year old who had very little to distress or vex her, Austen comments on many aspects on her society, such as societal values and the class system. Heckerling takes the main plot of Emma, and transforms it so it fits in to the context of the 20th century, telling the story of Cher, who knew what it was like to have people jealous of her. Set in Bronson Alcott High School, Beverly Hills, the audience is offered a rigid system of social stratification through clichs, which parallel the complex hierarchies of Highbury, which are established with the cameras establishing shots of the different social groups in the school. By comparing the texts, it is clear that Clueless is not merely an imitation of its parent text. It reflects a very different socio-historical context, making a brand new comment about a very different world, while using the skeleton of Austens text. Heckerling does not merely transform balls into valley parties, and visiting to shopping, but uses these contemporary signifiers for old fashioned elements to comment on new aspects of her society which give new meaning to the text, showing that it is not merely a pale adaptation. This can be seen in the conversion of carriage into cars and the replacement of endless walking by continuous driving. Heckerling uses cars, and adds the dilemma of a driving test to ridicule the mentality of the heroine, and to show how women in this context are more independent than those living in the 19th century. Chers inability to safely drive is also used as a metaphor illustrating her poor steering of the life of others through matchmaking. Clueless provides a corollary to the complex hierarchies of Highbury, examining the classes in Heckerlings contemporary society, just as Austen does in Emma. In Beverly Hills, specific indicators of status include cars, technology, mobile phones and plastic surgery. Breeding is not as significant as it is in Austens time, hence the classic 1972 columned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus, and determines the kind of person rather than attending the church as in Emma. Austen demonstrates the factors

determining class with the character Harriet, who was the daughter of somebody. The issue of kinship and birthright has been replaced in our times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual alliances. Both these factors in each contemporary society makes both girls marketable on the marriage/dating arena. The film creates both parallels and transformations of the class structure, pointing out to the audience that class still exists, but changes its name and boundaries when transferred to the culture of Western teenage life. We can see that Heckerling has not merely transformed the issue of classes, but uses the transformed elements to comment on her contemporary society. This shows that Clueless is not merely a pale adaptation. Societal tiers with social groups such as The Persia Mafia, with all the BMWs, and the Loadies, the boys who no respectable girl actually dates are shown through the establishing, panning shots of the school, as well as the clothing of each individual group, such as the loadies with their flannelette shirts. These cliques are a transformation of the rigid social groups in Austens time, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis, while Mr Knightly/Josh, who represent the upmost class end up with Emma/Cher who live in a world which afforded them no equals. Heckling examines how Tai and Travis are on the same level with their common interest in Marvin the Martian, an allusion of popular culture. Through transforming various class structures, Heckerling creates a new comment on a new context, showing that Heckerlings transformation is not a pale reflection of the original text. Just like Austen, Heckerling examines the values embedded in her contemporary society. This is achieved in each text by manipulating the expectations of the audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, is challenged with the fact that Ema has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. Both author/director set up a paradox, causing each audience to confront their own preconceptions concerning each stereotype. Heckerling examines values once again with the transformation of Frank Churchill to Christian, who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. Clueless however cannot afford to offer to offer subtle signs due to the compressed genre and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past. By transforming the values seen in Emma to make them relevant to the context of Clueless,

Heckerling makes a new comment about a new context, illustrating that Clueless is not merely a pale reflection of Emma. Heckerling comments on the misplaced value system seen in the context of Clueless with the metaphor of the ability to argue grades from a C plus to an A minus. Clueless, while drawing heavily from Emma for inspiration and skeletal frameworks, very much emerges from popular culture and ultimately is able to sand on its own merits and thus possesses its won textual integrity. Through Heckerlings penetrating examination of her context, which is similar to Austens examination, the social values and classes of her context are examined. Austens third person linear narrative, with an omniscient narrator, which allows for irony of the society through detachment and thus opens the way for satire is transformed in Clueless with the use of voice over to examine the fluorescent, MTV, hyperbolic world of Clueless. While some transformations may be pale adaptations of their original text, Clueless is a clever and witty transformation, which comments on contemporary society, and can be valued very highly as a text. Two students have just watched Amy Heckerlings Clueless after reading Jane Austens novel Emma. Write a conversation between the two that could occur as they compared the two texts. Nina: Hey Rhys! So what did you think of Clueless? Its amazing how similar it is to Emma. Rhys: Yeah I know, well I suppose it is a transformation. Nina: True, I remember Mrs. Oscar telling us that the process of transformation reexpresses a story told for one audiences time and context, using methods appropriate to another time and context. So in the transformation of Jane Austens classic novel of manners Emma, told for readership of complacent 19th century gentry, into Heckerlings post-modern teen-pic Clueless, told for a cinema audience of average teens, Austens original directives transform as the context shift and additional impulses emerge. Wouldnt you agree that through director Amy Heckerlings outstanding manipulation of cinematic techniques, the setting and timeframe have been changes as well as the social milieu, however similarities still exist alongside the social and cultural discrepancies. Rhys: Yes there are many similarities between the two texts, but Heckerling does not merely transform balls into valley parties and visiting into shopping, but uses these contemporary signifiers for old fashioned elements to comment on new aspects of her society which give new meaning to the text. This can be seen in the conversion of carriage into cars and the replacement of endless walking by continuous driving. Heckerling uses cars, and adds the dilemma of a driving test to ridicule the mentality of the heroine, and to show how women in this context are more independent than those living in the 19th century. Chers inability to safely drive is also used as a metaphor illustrating her poor steering of the life of others through matchmaking.

Nina: I never thought about it like that, but it is so true. Dont you think it is clever how both texts examine the merits on which class is judged in both the author/directors contemporary environment? Wouldnt you say that Clueless provides a corollary to the complex hierarchies of Highbury, examining the social classes found in Heckerlings contemporary society, just as Austen does in Emma. In Beverly Hills specific indicators of status include cars, technology, mobile phones and plastic surgery. Breeding is not as significant as it is in Austens time, hence the classic 1972 columned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus, and determines the kind of person rather than attending the church as in Emma. Austen demonstrates the factors determining class with the character Harriet, who was the daughter of somebody. The issue of kinship and birthright has been replaced in our times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual alliances. Both these factors in each contemporary society make both girls marketable on the marriage/dating arena. Rhys: Definitely agree with you on that one. Did you notice how social class are presented in each of the texts? Well firstly you see the societal teirs with social groups in Clueless such as The Persia Mafia, with all the BMWs, and the Loadies, the boys who no respectable girl actually dates are shown through the establishing, panning shots of the school, as well as the clothing of each individual group, such as the loadies with their flannelette shirts. These cliques are as rigid as the social groups in Austens time, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis. Heckling examines how Tai and Travis are on the same class level with their common interest in Marvin the Martian, an allusion of popular culture. When it really comes down to it Clueless exemplifies how popular culture re-appropriates Austens novels to serve updated agendas. Dont you think that the transformation process allows the responder to see both texts as pleasing replays of each other and gain new insights that they would otherwise fail to realise, which thus allows the responder to compare the class system of both eras, which develops and reshapes our understanding of each text. Nina: That is such a good point. Dont you reckon that the values embedded in each contemporary society are also important to the shaping of the text, with each text examining these values. I think it is achieved by the author/director by manipulating the expectations of their audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, is challenged with the fact that she has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. Both author/director set up a paradox, causing each audience to confront their own preconceptions concerning each

stereotype. Values are examined once again in each text with the characters of Frank Churchill and Christian who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. Clueless however cannot afford to offer to offer subtle signs due to the compressed genre and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past Wouldnt you say that the values embedded within each text are indicative of the sociocultural conventions of each context. By comparing each text and examining the transformation process that has occurred from Emma to Clueless responders are allowed to have two windows of perception to view the values embedded in each context in different ways. This allows for a new insights and a richer understanding of each text. Rhys: So true Nina. It is quite interesting how as part of the transformation process, the values, setting and genre of Clueless have been dramatically changed to appeal to a contemporary audience, yet the themes, central character, use of irony and purpose has remained the same. Nina: And dont you think that an understanding of both Emma and Clueless contribute to new insights into both texts. Emma allows Clueless to be valued, while clueless enables Emma to be understood and accessible to a cohort grounded in contemporary culture. Rhys: Couldnt of said it better myself! A magazine for HSC students has been created on the unit of transformations. Write an article that could be included on the transformation of Jane Austens novel Emma into Amy Heckerlings film Clueless. HOLLYWOOD IN THE HILLS OF HIGHBURY Jane Johnson Reports on how comparing transformed texts, can result in so much more than just a pleasing replay.

As the context's shift additional impulses emerge.

It has been reported that by comparing the famous novel Emma by Jane Austen and the teenpic Clueless, directed by Amy Heckerling, the audience gains new insights into both text through the process of transformation. Through Austins ironic, third person voice, which tells of the story of Emma, the twenty one year old who had very little to distress

or vex her, Austen comments on many aspects on her society, such as societal values and the class system. Heckerling takes the main plot of Emma, and transforms it so it fits in to the context of the 20th century, telling the story of Cher, who knew what it was like to have people jealous of her. A reliable source noted that by reflecting a very different socio-historical context, Clueless enables the audience to gain new insights into the world of Austen, while Emma in turn gives new insights into Clueless. The process of transformation has been defined by a highly regarded academic as the re-expression a story told for one audience's time and context, using methods appropriate to another time and context. Thus in the transformation of Jane Austen's classic novel of manners Emma, told for a readership of complacent 19th century gentry, into Heckerling's post-modern teen-pic Clueless, told for a cinema audience of average teens, Austen's original directives transform as the context's shift and additional impulses emerge. Through director Amy Heckerling's manipulation of cinematic techniques, the setting and timeframe have been changed as well as the social milieu; however, similarities still exist alongside the cultural and historical discrepancies. It is clear that Clueless provides a corollary to the complex hierarchies of Highbury, examining the classes found in Heckerlings contemporary society just as Austen does in Emma. In Beverly Hills, specific indicators of status include cars, technology, mobile phones and plastic surgery. It has been confirmed that breeding is not as significant as it is in Austens time, hence the classic 1972 columned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus. Austen demonstrates the factors determining class with the character Harriet, who was the daughter of somebody. We have been informed that the issue of kinship and birthright has been replaced in our times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual alliances. Both these factors in each contemporary society makes both girls marketable on the marriage/dating arena. The film creates both parallels and transformations of the class structure, pointing out to the audience that class still exists, but changes its name and boundaries when transferred to the culture of Western teenage life. Societal tiers with social groups such as The Disco dancing, Oscar Persia Mafia, with all the BMWs, and the Wilde reading, Steisand Loadies, the boys who no respectable girl actually dates are shown through the ticket-holding friend of establishing, panning shots of the school, as well as the clothing of each individual group, Dorothy such as the loadies with their flannelette shirts. These cliques have been compared to the social groups in Austens time, which are just as rigid, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal

statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis. It has been confirmed that Heckling examines how Tai and Travis are on the same class level with their common interest in Marvin the Martian, an allusion of popular culture. It has been agreed that Clueless exemplifies how popular culture re-appropriates Austens novels to serve updated agendas. The transformation process allows the responder to see both texts as pleasing replays of each other and gain new insights that they would otherwise fail to realise, which thus allows the responder to compare the class system of both eras. The author of each text also examines the values embedded in each of their contemporary societies. This is achieved by manipulating the expectations of their audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, is challenged with the fact that she has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. An exclusive poll taken by the Daily Telegraph shows that the paradox, which both author director set causes each audience to confront their own preconceptions concerning each stereotype. Values are examined once again in each text with the characters of Frank Churchill and Christian who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. It has been implied that Clueless cannot afford to offer subtle signs due to the compressed genre and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past. It has been noted that the values embedded within each text are indicative of the sociocultural conventions of each context. By comparing each text and examining the transformation process that has occurred from Emma to Clueless, its obvious that responders are provided with two windows of perception to view the values imbedded in each context in different ways, providing new insights and a richer understanding of each text. It has been implied that as part of the transformation process, the values, setting and genre of Clueless have been dramatically changed to appeal to a contemporary audience, yet the themes, central character, use of irony and purpose has remained the same. When examining the thematic elements and values of Emma, and comparing how Heckerling, has replayed the same elements and values, a richer understanding of each text is gained about deeper levels of meaning in the texts and the intentions of the composers. Emma allows Clueless to be valued, while clueless enables Emma to be understood and accessible to a cohort grounded in contemporary culture.

The transformation process allows us to respond to texts as pleasing replays of each other and to gain new insights into both texts. Discuss this statement in relation to the transformation process of the prescribed texts you have studied.

When comparing the two text, the famous novel Emma by Jane Austen and The teenpic Clueless, directed by Amy Heckerling, the audience gains new insights into both text through the process of transformation. Through Austins ironic, third person voice, which tells of the story of Emma, the twenty one year old who had very little to distress or vex her, Austen comments on many aspects on her society, such as societal values and the class system. Heckerling takes the main plot of Emma, and transforms it so it fits in to the context of the 20th century, telling the story of Cher, who knew what it was like to have people jealous of her. Set in Bronson Alcott High School, Beverly Hills, the audience is offered a rigid system of social stratification through clichs, a replay of the complex hierarchies of Highbury, which are established with the cameras establishing shots of the different social groups in the school. By reflecting a very different sociohistorical context, Clueless enables to gain new insights into the world of Austen, while Emma in turn gives new insights into Clueless. The process of transformation re-expresses a story told for one audience's time and context, using methods appropriate to another time and context. Thus in the transformation of Jane Austen's classic novel of manners Emma, told for a readership of complacent 19th century gentry, into Heckerling's post-modern teen-pic Clueless, told for a cinema audience of average teens, Austen's original directives transform as the context's shift and additional impulses emerge. Through director Amy Heckerling's manipulation of cinematic techniques, the setting and timeframe have been changed as well as the social milieu; however, similarities still exist alongside the cultural and historical discrepancies. By examining the transformation process new insights of each text are gained. Clueless provides a pleasing replay to the complex hierarchies of Highbury, each examining the classes in their contemporary society. In Beverly Hills, specific indicators of status include cars, technology, mobile phones and plastic surgery. Breeding is not as significant as it is in Austens time, hence the classic 1972 columned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. Jobs like doctors and lawyers hold the same prestige as landowners from Emmas time. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus, and determines the kind of person rather than attending the church as in Emma. Austen demonstrates the factors determining class with the character Harriet, who was the daughter of somebody. The issue of kinship and birthright has been replaced in our times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual alliances. Both these factors in each contemporary society makes both girls marketable on the marriage/dating arena. The film creates both parallels and transformations of the class structure, pointing out to the audience that class still exists, but changes its name and boundaries when transferred to the culture of Western teenage life.

Societal tiers with social groups such as The Persia Mafia, with all the BMWs, and the Loadies, the boys who no respectable girl actually dates are shown through the establishing, panning shots of the school, as well as the clothing of each individual group, such as the loadies with their flannelette shirts. These cliques are as rigid as the social groups in Austens time, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis, while Mr Knightly/Josh, who represent the upmost class end up with Emma/Cher who live in a world which afforded them no equals. Heckling examines how Tai and Travis are on the same class level with their common interest in Marvin the Martian, an allusion of popular culture. Clueless exemplifies how popular culture re-appropriates Austens novels to serve updated agendas. The transformation process allows the responder to see both texts as pleasing replays of each other and gain new insights that they would otherwise fail to realise, which thus allows the responder to compare the class system of both eras. The author of each text also examines the values embedded in each of their contemporary societies. This is achieved by manipulating the expectations of their audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, however this is challenged with the fact that she has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. Both author/director set up a paradox, causing each audience to confront their own preconceptions concerning each stereotype. In both texts, each heroine finds the social stability they were looking for through marriage/sexual connection and we see despite the different contexts; both have the same hopes and desires. Values are examined once again in each text with the characters of Frank Churchill and Christian who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. Clueless however cannot afford to offer to offer subtle signs due to the compressed genre and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past. Each text examines the values of their contemporary society, and the ability to argue grades from a c plus to an A minus is a metaphor of a misplaced value system seen in the society of Clueless. The values embedded within each text are indicative of the socio-cultural conventions of each context. By comparing each text and examining the transformation process that has occurred from Emma to Clueless responders are allowed to have two windows of

perception to view the values embedded in each context in different ways. This allows for a new insights and a richer understanding of each text. As part of the transformation process, the values, setting and genre of Clueless have been dramatically changed to appeal to a contemporary audience, yet the themes, central character, use of irony and purpose has remained the same. When examining the thematic elements and values of Emma, and comparing how Heckerling, has pleasingly replayed the same elements and values, a richer understanding of each text is gained about deeper levels of meaning in the texts and the intentions of the composers. Thus an understanding of both Emma and Clueless contribute to new insights into both texts. Emma allows Clueless to be valued, while clueless enables Emma to be understood and accessible to a cohort grounded in contemporary culture. A radio show takes place with the interviewer talking to HSC students on the transformation of Jane Austens Novel Emma into the Amy Heckerlings Clueless. Interviewer: Welcome all to NSW HSC ONWIRE, now Im Oscar Nash and today we will be talking about how the process of transformation allows for new insights into the two texts, Jane Austens classic novel Emma and Amy Heckerlings teenpic CluelessNow first up we have Rhys to talk about the actual process of transformation. Rhys: Well basically the process of transformation re-expresses a story told for one audience's time and context, using methods appropriate to another time and context. So in the transformation of Jane Austen's classic novel of manners Emma, told for a readership of complacent 19th century gentry, into Heckerling's post-modern teen-pic Clueless, told for a cinema audience of average teens, Austen's original directives transform as the context's shift and additional impulses emerge. Through director Amy Heckerling's outstanding manipulation of cinematic techniques, the setting and timeframe have been changed as well as the social milieu; however, similarities still exist alongside the cultural and historical discrepancies. Interviewer: Well thanks a lot Rhys, now Amy is on the line to talk about how both texts examine the merits on which class is judged in both the author/directors contemporary environment. Amy: Im sure everyone will agree that Clueless provides a corollary to the complex hierarchies of Highbury, examining the social classes found in Heckerlings contemporary society, just as Austen does in Emma. When comparing the similarities an understanding of Clueless is reshaped into an appreciation of such a clever transformation. In Beverly Hills specific indicators of status include cars, technology, mobile phones and plastic surgery. Breeding is not as significant as it is in Austens time, hence the classic 1972 columned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus, and determines the kind of person rather than attending the church as in Emma. Austen demonstrates the factors determining class with the character Harriet, who was the daughter of somebody. The issue of kinship and birthright has been replaced in our

times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual alliances. Both these factors in each contemporary society makes both girls marketable on the marriage/dating arena. The film creates both parallels and transformations of the class structure, pointing out to the audience that class still exists, but changes its name and boundaries when transferred to the culture of Western teenage life. Interviewer: What an excellent analysis, now stemming from that we have Ben to give his view of the way social classes are presented in each of the texts. Ben: Hi Oscar. Well the societal tiers with social groups in Clueless such as The Persia Mafia, with all the BMWs, and the Loadies, the boys who no respectable girl actually dates are shown through the establishing, panning shots of the school, as well as the clothing of each individual group, such as the loadies with their flannelette shirts. These cliques are as rigid as the social groups in Austens time, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis. Heckling examines how Tai and Travis are on the same class level with their common interest in Marvin the Martian, an allusion of popular culture. When it really comes down to it Clueless exemplifies how popular culture re-appropriates Austens novels to serve updated agendas. The transformation process allows the responder to see both texts as pleasing replays of each other and gain new insights that they would otherwise fail to realise, which thus allows the responder to compare the class system of both eras, which develops and reshapes our understanding of each text. Interviewer: Very good point Ben. Now the values embedded in each contemporary society are also very important to the shaping of each text. Now here is Sarah to give her view on these values. Sarah: Well as you just said Oscar, the author of each text also examines the values embedded in each of their contemporary societies. This is achieved by manipulating the expectations of their audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, however this is challenged with the fact that she has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. Both author/director set up a paradox, causing each audience to confront their own preconceptions concerning each stereotype. Values are examined once again in each text with the characters of Frank Churchill and Christian who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues

to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. Clueless however cannot afford to offer to offer subtle signs due to the compressed genre and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past The values embedded within each text are indicative of the socio-cultural conventions of each context. By comparing each text and examining the transformation process that has occurred from Emma to Clueless responders are allowed to have two windows of perception to view the values embedded in each context in different ways. This allows for a new insights and a richer understanding of each text. Interviewer: So true Sarah. Now we are almost out of time, but to finish off I would like to read a summary of the two text that a listener who wishes to remain anonymous sent me. As part of the transformation process, the values, setting and genre of Clueless have been dramatically changed to appeal to a contemporary audience, yet the themes, central character, use of irony and purpose has remained the same. An understanding of both Emma and Clueless contribute to new insights into both texts. Emma allows Clueless to be valued, while clueless enables Emma to be understood and accessible to a cohort grounded in contemporary culture. Well thats all we have time for folks, hope to talk to you soon, and keep the phone calls coming in. Bye from all of us at NSW HSC ONWIRE. When comparing the two text, the famous novel Emma by Jane Austen and The teenpic Clueless, directed by Amy Heckerling, the audience gains new insights into both text through the process of transformation. Through Austins ironic, third person voice, which tells of the story of Emma, the twenty one year old who had very little to distress or vex her, Austen comments on many aspects on her society, such as societal values and the class system. Heckerling takes the main plot of Emma, and transforms it so it fits in to the context of the 20th century, telling the story of Cher, who knew what it was like to have people jealous of her. Set in Bronson Alcott High School, Beverly Hills, the audience is offered a rigid system of social stratification through clichs, a replay of the complex hierarchies of Highbury, which are established with the cameras establishing shots of the different social groups in the school. By reflecting a very different sociohistorical context, Clueless enables to gain new insights into the world of Austen, while Emma in turn gives new insights into Clueless. The process of transformation re-expresses a story told for one audience's time and context, using methods appropriate to another time and context. Thus in the transformation of Jane Austen's classic novel of manners Emma, told for a readership of complacent 19th century gentry, into Heckerling's post-modern teen-pic Clueless, told for a cinema audience of average teens, Austen's original directives transform as the context's shift and additional impulses emerge. Through director Amy Heckerling's manipulation of cinematic techniques, the setting and timeframe have been changed as well as the

social milieu; however, similarities still exist alongside the cultural and historical discrepancies. By examining the transformation process new insights of each text are gained. Heckerling does not merely transform balls into valley parties and visiting into shopping, but uses these contemporary signifiers for old-fashioned elements to comment on new aspects of her society. This can be seen in the conversion of carriages into cars and the replacement of endless walking with continuos driving. Heckerling uses driving and adds the dilemma of the driving test to ridicule the mentality of the heroine, and to illustrate how women in this context have more freedom. Chers inability to drive safely is also used as a metaphor of her poor steering of the life of others through matchmaking. Clueless provides a pleasing replay to the complex hierarchies of Highbury, each examining the classes in their contemporary society. In Beverly Hills, specific indicators of status include cars, technology, mobile phones and plastic surgery. Breeding is not as significant as it is in Austens time, hence the classic 1972 columned house. Rather than Emma who earned her status due to her legacy within Highbury, Clueless focuses on consumerism. Jobs like doctors and lawyers hold the same prestige as landowners from Emmas time. The mall, the place where Cher could gather my thoughts and regain my strength offers the focus, and determines the kind of person rather than attending the church as in Emma. Austen demonstrates the factors determining class with the character Harriet, who was the daughter of somebody. The issue of kinship and birthright has been replaced in our times with sexuality and promiscuity, which Heckling demonstrates with Tais mistake of multiple sexual alliances. Both these factors in each contemporary society makes both girls marketable on the marriage/dating arena. The film creates both parallels and transformations of the class structure, pointing out to the audience that class still exists, but changes its name and boundaries when transferred to the culture of Western teenage life. Societal tiers with social groups such as The Persia Mafia, with all the BMWs, and the Loadies, the boys who no respectable girl actually dates are shown through the establishing, panning shots of the school, as well as the clothing of each individual group, such as the loadies with their flannelette shirts. These cliques are as rigid as the social groups in Austens time, where Emma could not of possibly visited Mrs Robert Martin, of Abbey Hill farm. While both author/director examine the social classes that exist in society, the respective hierarchical structures are never challenged, seen at the conclusion of each text with characters of equal societal statues being paired, and suggesting a future together. Harriet/Tai both accept the previously unworthy, socially unacceptable suitors Mr Martin/Travis, while Mr Knightly/Josh, who represent the upmost class end up with Emma/Cher who live in a world which afforded them no equals. Heckling examines how Tai and Travis are on the same class level with their common interest in Marvin the Martian, an allusion of popular culture. Clueless exemplifies how popular culture re-appropriates Austens novels to serve updated agendas. The transformation process allows the responder to see both texts as

pleasing replays of each other and gain new insights that they would otherwise fail to realise, which thus allows the responder to compare the class system of both eras. The author of each text also examines the values embedded in each of their contemporary societies. This is achieved by manipulating the expectations of their audience with main characters who do not act in accordance with their specific social environment. In Emma the stereotype of a handsome, clever and rich girl, however this is challenged with the fact that she has very little intention of ever marrying. This is transformed in Clueless as Cher, the ditz with a credit card who contradicts the blonde stereotype by remaining hymenally challenged. Both author/director set up a paradox, causing each audience to confront their own preconceptions concerning each stereotype. In both texts, each heroine finds the social stability they were looking for through marriage/sexual connection and we see despite the different contexts; both have the same hopes and desires. Values are examined once again in each text with the characters of Frank Churchill and Christian who both belong to a socially stigmatised group in each context. A secret engagement, and a disco dancing, Oscar Wilde reading, Steisand ticket-holding friend of Dorothy, are associated with physical degradation, reflecting the social values of each context. In each text we are given clues to these possible wrong doings, in Emma through subtle signs such as conceits in word games, although we are kept in the shadows of ambiguity. Clueless however cannot afford to offer to offer subtle signs due to the compressed genre and the truth is revealed far more quickly with the clever references to Tony Curtis, with many of the mannerisms and close-ups of Christian reflecting this heartthrob from the past. Each text examines the values of their contemporary society, and the ability to argue grades from a c plus to an A minus is a metaphor of a misplaced value system seen in the society of Clueless. The values embedded within each text are indicative of the socio-cultural conventions of each context. By comparing each text and examining the transformation process that has occurred from Emma to Clueless responders are allowed to have two windows of perception to view the values embedded in each context in different ways. This allows for a new insights and a richer understanding of each text. As part of the transformation process, the values, setting and genre of Clueless have been dramatically changed to appeal to a contemporary audience, yet the themes, central character, use of irony and purpose has remained the same. When examining the thematic elements and values of Emma, and comparing how Heckerling, has pleasingly replayed the same elements and values, a richer understanding of each text is gained about deeper levels of meaning in the texts and the intentions of the composers. Thus an understanding of both Emma and Clueless contribute to new insights into both texts. Emma allows Clueless to be valued, while clueless enables Emma to be understood and accessible to a cohort grounded in contemporary culture. In this elective you have studied two texts composed at different times. When you compared these texts and their contexts, how was your understanding of each text developed and reshaped?

By comparing the teenpic Clueless, to its parent text, the 19th century novel Emma, the responders understanding of each text is developed and reshaped. Each texts takes shape from the heroines progress out of their errors, mostly stemming from a love of matchmaking, into moral and emotional maturity, illustrating the values embedded in each context at the same time. By juxtapositioning these values a deeper understanding of each text is gained. Each text employs a linear chronological narrative in which we witness the journey of each heroine, Cher and Emma, towards a greater degree of enlightenment. In each case disparity between the protagonist perceptions and reality are humorously conveyed through different forms of irony and the understanding of Clueless is re-shaped into an appreciation of such clever transformation. In Clueless, Chers wrong perspective is underlined through the combination of camera frame and voiceover to create an ironic gap between Chers perceptions and reality. The assertions I actually have a way normal life for a teenage girl, can be juxtaposed with the background images of Cher choosing her outfit of the day through the aid of a computer aided outfit co-ordination program. highlighting her arrogance. This can be compared to Austens third person omniscient narration, which allows for irony through detachment. As Emma walked on, amusing herself in the consideration of the blunders that people of high pretension of judgment are forever falling into, underlines her lack of understanding as Emma could just as easily be describing herself. Clueless faithfully replicates the ironic spirit of Emma, by illustrating how Chers perceptions differ from reality, just as Emmas do. The misreading is presented through different means such as VO and detachment due to the two different genres of film and novel respectively. Emma presents a microcosm of upper-middle class English society; a patriarchal, class conscious, mono-cultural and ethnographic world with values based wealth, property, birth and marriage. Highbury is a rigidly structured society in which manner's are of the upmost importance, and knowledge of family and background is vital. Austen comments on the values of women in the nineteenth century through Miss Bates, describing her as having, a most uncommon degree of popularity for a woman neither young, handsome, rich, nor married. The transformation of Emma's 19th century rural English village, into the heart of 20th century, shows the extent of Heckerling's modification of cultural and historical contexts in the transformation process. With the obvious advantage of a visual medium, in the opening shots of Clueless the viewer is absorbed into a whirlwind of movement of a hand held camera, as a montage of laughing, flirting, happy, 'Kids in America', and images of the heroine, Cher, laden with designer shopping bags. The importance of consumerism, materialism, and image as values in the contemporary world of Clueless is established in seconds with a scene just like a noxema commercial. America's consumerist and capitalist culture, where indicators of status are shown through costumes and props such as mobile phones, cars and recurring motifs of nose strips, determines its class through the various high school cliques such as the Persian mafia, of whom one cannot be a part without a BMW. Chers VO

I need a place where I can gather my thoughts and regain my strength is contrasted with the panoramic use of the mall, which humorously, yet critically shows Americas obsession with image and consumerism. The values embedded within each text are indicative of the socio-cultural conventions of each context. By comparing each text responders are allowed to have two windows of perception to view the values embedded in each context in different ways. This allows for an understanding of each text to develop and reshape. The film creates both parallels and transformations of class issues, ironically pointing out to the audience that class still exists but changes its name and boundaries when transfers to the larger culture of western materialism. After Mr Elton makes, unsolicited violent love to a humiliated Emma, the evidence of importance of class in marrying is shown through Mr Eltons snobbish comment "everyone has their level: but as for myself, I am not, I think, quite at so much at a loss". This is echoed through the contemporary Eltons objective to the protgs class, as he drives her home after the equivalent of a ball, a party in the valley dont you know who my father is? after he has attempted to seduce Cher. To suit modern times, Heckerling has changed the institution of marriage to the dramas of dating. By comparing the texts we can gain a developed understanding of the similar class issues presented in each text. In Emma the plot is driven by marriage, which is central to a womans like and the importance of marriage in securing status is explored through Miss Bates who has experienced a decline in society due to her remaining single. Heckerling transforms this value into other ideals such as virginity as a result of sex and dating of teens. Tais comment youre just a virgin is a satiric observation by Heckerling about what young teenagers prioritise as the more significant rites of passage. Heckerling has made these changes in order to comply with her context and relate to a contemporary audience. A paradox is set up around a common cultural stereotype of each of the protagonists, as they dont conform. While Emma appears to reject the expectations declaring never to marry, Hecklings heroine echoes similar independent sentiments by remaining a virgin, or hymenally challenged As she is just not interested in doing it until I find the right person. You see how picky I am about my shoes and they only go on my feet. Despite these attitudes of the heroines, after a make over of their souls, they manage to fall in love. While Emma does marry, and Cher comments on the topic As if marriage is still the ultimate goal in the modern context, signalled in the last frame of the film where a determined Cher captures miss Geests bridal bouquet. Even though the context of each text is very different, by comparing each of the heroines stance on marriage, the audience develops an understanding of how this is an important value of each society. When examining the thematic elements and values of Emma, and comparing how Heckerling as presented the same elements and values, an understanding of each text is developed and reshaped about deeper levels of meaning in the texts, and the intentions of the composers. Thus, and an understanding of both Emma and Clueless contribute to developing and reshaping the value of each text. Emma allows Clueless to be valued,

while clueless enables Emma to be understood and accessible to a cohort grounded in a contemporary culture.