Hiya! I'm Caroline and I enjoy branding & identity, image-making and UX design. I am particularly obsessed with playful illustration, bold colours and storytelling. I love working on a team and strive to solve problems and help others through design. I spent last summer interning for Fjord at the Dock and I have also worked with Post Studio. I am always working on new skills to improve the experience of my audience, such as motion graphics, UI and spatial design.
The number of families that eat together regularly has decreased over the last few decades and most children do not receive any cooking education in school. Eating and cooking together have countless health and personal benefits including improving confidence and gaining valuable skills. Attitudes towards food are often taught by parents/guardians, giving the family environment power to impact a child’s relationship with food for life.
Ocras is a company for young families that makes mealtimes more fun through recipes, conversation cards and games for the kitchen. Kids can learn about cooking while connecting with their families. The stress that comes from picky eating and finding recipes is decreased and parents can focus on the most important thing — spending quality time with their children.
Emma by Jane Austen was published in 1815 and has continued to be relevant two centuries later as a result of many television and film adaptations, from the recent movie starring Anya Taylor-Joy to 1995’s Clueless. My thesis argues that each adaptation serves a different agenda and reflects issues of politics, gender, class and sexuality from the time in which it was made. It analyses the film and television adaptations of the last three decades: the 1990s being an exploration of gender equality, class and sexuality, the 2000s as an expression of individuality and globalisation, while the 2010s focus on nostalgia, legacy and the auteur.
This thesis discusses how depictions of the past always reflect the present and will advise on the future of Jane Austen adaptations. My argument is supported by visual evidence from the adaptations themselves as well as posters and promotional material for these TV programmes and films.