One example of this is demonstrated through Olive looking for a man to save her, by playing old fashion. The huge montage of love and life existing as an 80’s film are directly referenced and set to Olive’s voiceover, which feature the ironic line of, “Just once, I want my life to be like an 80’s.” The intertextuality links consist of, “I want John Cusack holding a boombox outside my window” presented in Say Anything as well as, “I want Richard Gere climbing up my fire escape with the limo waiting downstairs” featured in Pretty Woman. Furthermore, “I want to ride off on a lawnmower with Patrick Dempsey!” which is highlighted in Can’t Buy Me Love when he stands on the lawn mower below his love interests bedroom window playing music with the intention of trying to win her over. Moreover, “I want Jake from Sixteen Candles waiting outside the church for me” emphasised in Sixteen Candles and, “I want Judd Nelson thrusting his fist into the air because he knows he got me” conveyed in The Breakfast Club. Therefore, Olive draws upon well-known romantic comedies to portray the idealistic cliché’s, by comparing them to real life circumstances which simply do not
One example of this is demonstrated through Olive looking for a man to save her, by playing old fashion. The huge montage of love and life existing as an 80’s film are directly referenced and set to Olive’s voiceover, which feature the ironic line of, “Just once, I want my life to be like an 80’s.” The intertextuality links consist of, “I want John Cusack holding a boombox outside my window” presented in Say Anything as well as, “I want Richard Gere climbing up my fire escape with the limo waiting downstairs” featured in Pretty Woman. Furthermore, “I want to ride off on a lawnmower with Patrick Dempsey!” which is highlighted in Can’t Buy Me Love when he stands on the lawn mower below his love interests bedroom window playing music with the intention of trying to win her over. Moreover, “I want Jake from Sixteen Candles waiting outside the church for me” emphasised in Sixteen Candles and, “I want Judd Nelson thrusting his fist into the air because he knows he got me” conveyed in The Breakfast Club. Therefore, Olive draws upon well-known romantic comedies to portray the idealistic cliché’s, by comparing them to real life circumstances which simply do not