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Emma & Clueless

             In comparing Jane Austen's Emma with Amy Heckerling's Clueless one can see the vitality of the language working together with the visual images to successfully create the overall message of both narrative texts. In considering whether or not both the visual and written text works hand in hand one must view both texts in terms of semiotic analysis. At a deeper level, it is also true to say that the way in which both composers have generated meaning will slightly differ of course, due to the different mediums which have been used to propose their narratives. What needs to be noted is the fact that Austen has generated a clear and overall striking message in her text. Heckerling further adapts the storyline of Emma to a new setting, changed values and culture, and a modification of techniques to suit the new medium as well as the 20th century. In doing so however, the message does not change, it simply allows today's society to better understand and appreciate Jane Austen's text. Further links and connections will be demonstrated though composers social purpose, context of production and consumption and the likely readers.
             Both Emma the novel, and Clueless the film, is rich mediums for semiotic analysis. In the novel, we are initially presented with a photograph of Emma, the protagonist on the front cover. The grammar of visual design is of information value, clearly, this may be seen through Emma"s upright posture seated on a chair. Her strong and positive facial expression connotates her clever and assertive state of mind. Furthermore, Emma"s gown consists of vibrant colours, gold and red. Gold certainly signifies the rich state or home Emma comes from simultaneously with the red colour of royalty as juxtaposed with the gold tone. Emma"s hair is depicted in a neat uplifted style, allowing her pretty pale face to be the central image of the photograph.

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