Marty Sullivan’s life ends, basically, when her parents enroll her in a private high school. A private, Catholic, girls-only high school. Meanwhile, at their local public school, her best friend, Jimmy, comes out of the closet and finds himself a boyfriend and a new group of friends. Marty feels left out and alone, until she gets a part in the school musical, Into the Woods, and Jimmy and his new crew are in it, too! Things start looking even better when Marty falls for foxy fellow cast member Felix Peroni. And Felix seems to like her back. But the drama is just beginning. . . . Can Marty and Jimmy keep up their friendship? And is Marty’s new beau everything he appears to be? Or is Marty too clueless to figure it all out before it’s too late?

Clueless: American Youth in the 1990s is a timely contribution to the increasingly prominent academic field of youth film studies. The book draws on the social context to the film’s release, a range of film industry perspectives including marketing, audience reception and franchising, as well as postmodern theory and feminist film theory to assert the cultural and historical significance of Amy Heckerling’s film and reaffirm its reputation as one of the defining teen films of the 1990s. Lesley Speed examines how the film channels aspects of Anita Loos’ 1925 novel Gentlemen Prefer Blondes, the 1960s television series Gidget and Jane Austen’s Emma, to present a heightened, optimistic view of contemporary American teenage life. Although seemingly apolitical, Speed makes the case for Clueless as a feminist exploration of relationships between gender, comedy and consumer culture, centring on a contemporary version of the ‘dumb blonde’ type. The film is also proved to embrace diversity in its depiction of African American characters and contributing to an increase in gay teenagers on screen. Lesley Speed concludes her analysis by tracking the rise of the Clueless franchise and cult following. Both helped to cement the film in popular consciousness, inviting fans to inhabit its fantasy world through spinoff narratives on television and in print, public viewing rituals, revivalism and vintage fashion.

Gerald Graff argues that our schools and colleges make the intellectual life seem more opaque, narrowly specialized, and beyond normal learning capacities than it is or needs to be. Left clueless in the academic world, many students view the life of the mind as a secret society for which only an elite few qualify. In a refreshing departure from standard diatribes against academia, Graff shows how academic unintelligibility is unwittingly reinforced not only by academic jargon and obscure writing, but by the disconnection of the curriculum and the failure to exploit the many connections between academia and popular culture. Finally, Graff offers a wealth of practical suggestions for making the culture of ideas and arguments more accessible to students, showing how students can enter the public debates that permeate their lives.

Refocus: The Films of Amy Heckerling is the first book-length study of the work of Amy Heckerling, the phenomenally popular director and screenwriter of Clueless and Fast Times at Ridgemont High. As such, the book constitutes a significant intervention in Film Studies, prompting a reconsideration of the importance of Heckerling both in the development of Teen cinema, and as a figure in Hollywood comedy. As part of the Refocus series, the volume brings together outstanding original essays examining Heckerling's work from a variety of perspectives, including film, television and cultural studies and is destined to be used widely in undergraduate teaching.

This illustrated storybook captures the unforgettable fashions, vocabulary, and characters of the iconic 1995 film Clueless with an adorable kid-friendly adaptation about making friends. Cher and Dionne are the coolest kids at Bronson Alcott Elementary School in Beverly Hills. When a new -- very unique, grunge-chic, and possibly clueless -- girl named Tai comes along, Cher and Dionne take her under their wings. They tell her how to dress and what hobbies to take up to be a part of their friend group. But Tai really likes skateboarding, baggy clothes, and wants to hang out more with the group of skateboarders. Cher and Dionne try a variety of ways to change Tai, alongside a cast of characters including Murray, Amber, Travis, Summer, Elton, and Miss Geist. But in the end, they realize that people are different and that's what makes them so cool!

Examines recent Austen remakes as well as other “post-heritage” films and television shows to show how the past is reshaped for a contemporary market.

Will we ever get tired of Clueless? Ugh, as if! Acclaimed pop culture journalist Jen Chaney celebrates the twentieth anniversary of the classic film’s release in the first book of its kind, weaving together original interviews with writer and director Amy Heckerling; key cast members, including Alicia Silverstone (Cher), Paul Rudd (Josh), Stacey Dash (Dionne), Donald Faison (Murray), Elisa Donovan (Amber), Wallace Shawn (Mr. Hall), Twink Caplan (Ms. Geist and associate producer); and other crucial Clueless players like costume designer Mona May, casting director Marcia Ross, director of photography Bill Pope, former Paramount chairwoman Sherry Lansing, and many more. Cast and crew also pay heartfelt tribute to the late Brittany Murphy, who lit up the screen as Cher’s protégée, Tai. Chaney explores the influence of Jane Austen’s Emma as the unlikely framework for Heckerling’s script, the rigorous casting process (including the future stars who didn’t make the cut), the functional yet fashion-forward wardrobe, the unique slang that drew from the past and coined new phrases for the future, the sun-drenched soundtrack that set the tone, and—above all—the massive amount of work, creativity, and craft that went into making Clueless look so effortlessly bright and glossy. As If! illuminates why plaid skirts and knee socks will never go out of style, and why Clueless remains one of the most beloved comedies of all time.