Film Genre Analysis: A Case for Clueless by Amy Heckerling

Introduction

Clueless is a 1995 American comedy film directed and written by Arny Heckerling. The film stars Stacey Dash, Brittany Murphy, Alicia Silverstone and Paul Rudd. The producers of the film are Robert Lawrence and Scott Rudin. The film loosely reflects on Emma, a novel by Jane Austen in 1815 with the setting being updated to modern Beverly Hills. The plot of Clueless is drawn from Shakespeare's Titus Andronicus but was removed later for lack of continuity (Lewis 23). The purpose of this essay is to analyze the concept of film genre from the reflection of Hollywood mainstream examples on teen film, which is an example of the teen genre. The Clueless film is used as the case study that also evaluates on dialogue to reveal nature of conversation in the teen genre (Shary 39). The current research will analyze its position as a turning point in genre surrounding its release. The main concentration will be based on the use of language by characters that brings into account popular cultures, the imagination of film's writer and actual language used by the American teenagers. The research will also address the application of film genre studies where theoretical and analytical approaches are essential in reviewing the development of teen genre since the 1980s.

Hollywood Teen Film from 1980-2005

Analysis of Clueless Demonstration of Teen Genre

The language use in the Clueless film develops link among the characters by grouping them into certain social groups and also within a specific generation. The significance of language style is represented through the approach of group membership, location, and age. For instance, in teen genre, there is the application of contemporary slang to place emphasis on age and generation providing verisimilitude of characters. Clueless focus attention on the use of language among teenagers where the language is unusual when adults are involved. To keep the characters in dialogue with the audience, many magazines and reviews presented a glossary of the terms used to contextualize the meaning of the words used. Linguistic style created by Heckerling combine both teen slang in the 20tl1 century and the linguistic style of actors in the final script. The intentions of Heckerling in language use was to provide a dialogue with flowed clarity and create an effectively that they could express themselves creatively (Lewis 21).

In addition, Heckerling intended to develop a language style specific to every character reflection on their personal interests and attitudes. Bakhtin argues that language genre reflects countless utterances by individuals either spoken or written in all walks of life. From these utterances, one is able to reflect on the goals and specific conditions of each not only on their thematic (content) and linguistic style (selection of phraseological, lexical and grammatical resources) but also via the structural composition (Davis 19). Style, thematic content and compositional structure are then linked to the whole utterance and determined equally based on specific nature of communication sphere (Bakhtin 60). Sphere of communication nature in Clueless is highly influenced by dialogue location in the fictional context. The link between Bakhtin elements (structure of composition, style, and theme) and phrase changes when they are analyzed in the context of the film script rather than daily conversations.

In Clueless, language is used fundamentally to establish the credible and pleasant world, capturing interests of the audience. The language of the characters represents the truth about teen language in the 1990s. By so doing, a more familiar language of the teenagers is unveiled (featured by words such as cool, like and totally, and creative language with phrases like couch commando and surfing the crimson wave. To place emphasis on literary and lyrical places,

Daniel Chandler view use of figurative language as one that ‘constitute a rhetorical code, and understanding this code is part of what it means to be a member of the culture in which it is employed ' (Chandler 124). Even though the dialogue is comprehensible in Clueless, there is need to interpret certain phrases and terms either for the audience or to a new character arriving in school. Even though the phrasing could be unfamiliar, there is the eventual habitation of the audience and new characters as the film progress an indication of being absorbed into the teenage culture (Shary 39).

Thematic content, compositional structure and language style reflect the discussion by characters, the phrasing of the discussions and patterns of conversation used (Williams 2). The teen genre is featured by certain aspects common to all films comprising of schoolwork, family, and relationships. Dialogue style in Clueless is heightened signifying assumption of teenagers' voice using elements such as popular culture and slang that present location and period as well as to color their language. Conversation structure for these teens either in the classroom, among peers or at home demonstrates characters who are conveying dialogue purpose that demonstrates individuality of the characters. Further, dialogue structure and clarity reflects the position of the language in the film instead of spontaneous conversation.

Bakhtin discusses the language use in the novel as Robert Starn demonstrates that there are three levels of meaning comprising of depending on author's intentions, character speaking intentions, and audience understanding. Application of specific linguistic style that is featured in the film's promotional material could also imply that it targets audience from a specific demographic where attracts some and deter others. From Bakhtin theory, the teen language in school context takes an assessment of the utterances as a significant tool. From the film, Clueless, each of these characters individualize their utterances with each of these utterances evoking and reinforcing linguistic style of the teenage community of the film. The language used by each of these teen characters establish a speech community that unites and contextualize each basing on generation and time (Shary 39).

Conclusion

The genre demonstrated in Clueless reflects the contemporary teen genre that is self ­ consciously showing the main features of this genre in films.  The film features how the teen genre during the 1990s are presented through the use of terms that feature ironic experiences, self-awareness, and postmodernism. In a reflection of the Bakhtin's theory of utterances, the research is able to contextualize the film in a language that conveys period, history of characters and context of the statement. Consistency in style use and utterances for teenage characters present a narrative that reflects time and place, which does not only represent group membership, but also the appearance of those outside the dialogue.