Austens canonical work Emma is set in the populous village of Highbury in the 19th Century, whilst Heckerlings teen

pic Clueless is shot in the affluence of Beverly Hills in the 1990s. Influenced by the Augustan age of strict social stratification, Austen satirises the pretension of the upper classes and the systematic business of marriage, whilst Heckerling, drawing from the Clinton era of greed and credit cards, mocks the superficial lifestyles of elite consumers. Both texts use irony and wit to critique their respective contexts and whilst the works espouse different values, they are united by the journey of a deluded but endearing heroine whose moral transformation becomes the central focus. Self-knowledge and discovery: The essential plot within both Emma and Clueless is the journey of self-knowledge embarked on by the two central heroines. Austens intrusive narration provides comic relief by exposing the difference between Emmas perceptions and reality, Emma had too much her own way and a disposition to think a little too well of herself. Similarly, Heckerling introduces us to the superficial and consumer driven world of Cher through the fast-paced opening montages stylised like a music video, depicting her as a ditz with a credit card. Both characters are initially portrayed as manipulative figures who mask their motives as care. Literary critic Rachael Brownstein observed, Emma dangerously imagines herself a splendid young goddess whose connection to most people is an amused puppeteers. Comparatively, Cher exploits her influence within her school through meddling in her teachers love lives in order to raise her grades. However, it is the focus on the microcosm of Highbury and the bubble of Beverly Hills that allows the composers to intimately endear the responder to Emma and Cher through humorously displaying their flaws. The self-realisation of both characters occurs when they undergo an inner makeover after been confronted by the two male figures they respect. When Emma shuns Miss Bates at Box-Hill, Mr Knightley reprimands her insensitivity, How could you be so insolent in your wit to a woman of her character, age and situation? Similarly, when Cher ignorantly assumes her housemaid is Mexican, Josh chides her and calls her a brat. Mr Knightley and Josh act as each heroines moral yardstick and through their reproofs, the heroines come to realise their follies. Whilst Emma must overcome the pretension of her position within Highbury society, Cher must battle against the superficiality of her privileged lifestyle, revealing the underlying theme of self growth remains. Relationships: Marriage/Sex: Furthermore, both texts explore the nature of relationships within society. However, whilst Emma focuses on marriage within the rigid Regency period, the updated Clueless explores more contemporary themes relating to sexuality and the fluidity of relationships. Marriage is a fundamental aspect of Emmas world, with the subtlety of relationships conveyed through delicate dialogue and letters, whilst it is a trivialised b visual commodity of floral motifs and sailor suits in Chers. Sexual relationships have replaced marriage in the new context, as Chers dilemma becomes a question of whom to lose her virginity to and not whom to marry. The new emphasis on sexual relationships in Clueless is reflected through the overt, sexually suggestive party games, such as suck and blow, which contrast greatly with the covert word games of Austens day, which reveal more through what they conceal. The shift in focus from marriage to sex is overall reflective of the sexual explicitness of the 20th Century, revealing societys altered attitudes towards commitment. Although the texts differ in their portrayal of relationships, both stress the importance of honesty and integrity in creating a successful affiliation. Both inexperienced protagonists must stop living vicariously through others relationships in order to embark on their own, an epiphany prompted when both they see the delineation between their real and imagined worlds. Emmas delusions, highlighted through structural and verbal irony, With insufferable vanity had she believed herself in the secret of everybodys feelings, swiftly disintegrate when the anticipatory dramatic irony ends, exposing the engagement of Mr Churchill and Jane. Ironically, Emma, who is used to deceiving and manipulating others, is now misled by the equally irresponsible Mr Churchill, causing her to appreciate Mr Knightleys transparency. Comparatively, Heckerling juxtaposes Chers statements with visual contradiction, emphasising Chers deluded perceptions when she remarks to Tai, Cant you see hes just falling in love with me? as Christian chats up the

barman. It is only when Murray enlightens Cher by telling her Christian is a cake boy that she realises how clueless she is and appreciates Joshs honesty. Social hierarchy: Both Austen and Heckerling use their respective texts to challenge their contexts preoccupation with social hierarchy and status. Austen challenges the rigid nature of the 19th Century social hierarchy through subtle wit and exaggerated caricatures by mocking a society that considers the arrogant Miss Hawkins a better catch than the kind-hearted Harriet. Initially, Emma is pretentious and confuses social responsibility with condescension, I could not have visited Mrs Robert Martin of Abbey-Mill Farm. However, through Mr Knightleys guidance and generosity towards the lower classes, Emma is shown that values of kindness and charity are far more important than establishing ones social superiority. Similarly, when Cher discourages Tai from Travis, explaining, no respectable girl would date a loadie, she prevents her from entering a relationship in which there is obvious chemistry. Though, as both protagonists are confronted with the problems caused by their interference and social pretension, they each begin to value and embrace their surrounding community and world. Consumerism: However, Clueless goes one step further and provides a critique of the consumer driven world of American affluence. Heckerlings deliberate transformation from novel to movie is essential, as consumerism is a phenomenon that must be visually shown. Whilst Austens Emma is a canonical symbol of high culture, Heckerlings Clueless celebrates low culture through frequent references to brands and celebrities. Chers fervent obsession with consumerism is shown to be shallow and insular and is reflected in her attitude towards the mall, which is compared to a spiritual outlet, a sanctuary, a place where I could gather my thoughts.. Though, as she develops as a character, Chers world is effectively enlarged and she begins to use her money and popularity for a good cause. Whilst Austen chooses to critique the rigid structure of the 19th Century social hierarchy and Heckerling challenges the hollow nature of consumerist society, both texts are linked by the importance they place on charity, honesty and most significantly, moral development. It is these underlying values which unite the two texts and make them accessible to the responder.