«Clueless» (1995) and «Emma.» (2020) in Dialogue: the Postfeminist and the Fourth-Wave Feminist Heroine in Austen Adaptations-Reference-Cited by-同舟云学术

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«Clueless» (1995) and «Emma.» (2020) in Dialogue: the Postfeminist and the Fourth-Wave Feminist Heroine in Austen Adaptations

Published:2023-12-21 Issue:6 Volume: Page:7-20
ISSN:2659-4218
Container-title:Esferas Literarias
language:
Short-container-title:Esferas_Literarias

Author:

García Muñoz María^ORCID

Abstract

This article explores the pervasive influence of Jane Austen’s novel Emma (1815) and its adaptability to contemporary contexts. It examines the portrayal of Austen’s protagonists in two film adaptations, Cher in Clueless (dir. Heckerling, 1995) and Emma in Emma. (dir. de Wilde, 2020). Cher epitomises the archetypal postfeminist heroine of the 1990s, with her inherent contradictions and the perpetuation of certain problematic discourses. By contrast, in spite of being set in the Regency period, the latest Emma showcases a more humanised character with an updated feminist attitude which resonates with the ideals of fourth-wave feminism.

Publisher

Cordoba University Press (UCOPress)

Reference34 articles.

1. Aragay, Mireia (2005), Books in Motion: Adaptation, Intertextuality, Authorship, New York, Rodopi.

2. Austen, Jane (1815), Emma, London, Penguin Classics.

3. Austen-Leigh, James E. (2002 [1871]). A Memoir of Jane Austen and Other Family Recollections, ed. Kathryn Sutherland, New York, Oxford World’s Classics.

4. Bruner, Raisa (2020), «How the New Emma Movie Updates the Relationship at Its Core», TIME, .

5. Carr, Flora (2020), «Emma. director reveals why she added THAT nosebleed scene», RadioTimes, February 2020, .

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