No texts are original, but some texts move beyond their origins.

To what extent does this statement inform your appreciation of the textual conversations between
the composers you have studied?

While no texts are entirely original, the power of interpretation often moves a text beyond its
intended origin and resonates with people in recontextualised ways. The textual conversation
between John Keat’s romantic poetry (1814-1820) and Jane Campion’s postmodernist biopic
film “Bright Star” (2009) arouses an increased appreciation for the interpretation of texts. While
these two texts are more than 200 years apart, they both align, and at times collide with the
perspectives and themes presented, representing the universal nature of values that become a
reflection of our humanity. Campion’s feminist, postmodern perspective collides with the
patriarchal, romantic context of Keats’ time, while still resonating with his origin. Through this,
readers are compelled to examine the transience of time and the inevitability of decay through
both a postmodern and romantic lens, while appreciating the evolution of societal norms in
relation to female voice, causing these texts to move beyond their origin and reshape mindsets.
The sonnet “Bright Star” by John Keats expresses the paradoxical desire to transcend the
confines of mortality, in order to experience enduring love and connection. Keats uses the
sublimity of nature to express these desires of transcendence. The use of apostrophe in “Bright
Star! Would I were steadfast as thou art” is used to address, and in turn personify the star.
Keats’ desire to live the same permanent existence and transcend the limitations of human
existence is thus revealed to the audience. The ‘Bright Star’ is a symbol of constancy amidst the
turmoil and constant change in human condition: Sick with tuberculosis and fearing the end of
his life, Keats wished to live eternally, unchanging, as the Bright Star does. However, while he
may desire to transcend the confines of mortality, we are all eternally bound to the laws of
nature. Furthermore, the use of volta in “No-yet still steadfast, still unchangeable/Pillow’d upon
my fair love’s ripening breast” indicates the paradoxical clash in Keats’ ideals. While he wishes
to achieve permanence like the star, he does not wish to remain alone and distant. The
repetition of “still” emphasises that the steadfastness he pursues is not a lonely eternity, but
rather an eternal relationship with his lover, Fanny Brawne. From this, readers can infer that
Keats is not merely contemplating the ideal of immortality but is rather seeking a more
profound form of permanence that manifests through human connection. By juxtaposing the
unchangeable nature of the star with the desire for an eternal relationship, Keats suggests that
true steadfastness lies within the intimate bonds formed between individuals. Keats thus
transcends the limitations of mortality by finding solace and connection in the enduring, eternal
power of love. Jane Campions postmodernist film Bright Star (2009) resonates with Keats’ desire
for love but uses nature to challenge his refusal to accept the reality of the human condition.
Campions postmodernist lens provide a reprieve from the romanticism found in Keat’s poetry.
The consistent use of butterflies as a motif throughout the film are used to symbolise the
blossoming and inevitable decay of their relationship. During the scene (timestamp) Fanny
receives a letter from Keats. The bright lighting creates a tone of joy, and the bright colors of the
butterflies further emphasise the pure bliss and pleasure the lovers feel when they hear from
the other. The abundance of butterflies expresses her overwhelming joy, but also symbolise the
fragility and the fleeting nature of time, alluding to the premature death of Keats and the
eventual decay of their relationship. This can be observed in the scene (timestamp) when Fanny
receives a short letter from Keats. Campions use of close-up shots on the dead butterflies
indicates the decay of their relationship and the approaching death of Keats. This sudden
transition of the butterflies from vibrance to decay collides with Keats use of nature as a way to
express his desire to transcend the confines of humanity. This is further expressed through
Campions portrayal of the cycle of the seasons. As Keats and Fannys love blossoms, so does
spring, representing growth and passion. Campion uses wide establishing shots to highlight the
beauty of the natural world and resonate with Keats admiration of nature. However, Campion
sets Keats death during the season of winter, directly colliding with Keats views of nature as a
way of transcending. Campion reveals to the audience that everything must have an end,
reinterpreting Keats romantic views of life within her own context of postmodernism. Campions
recycling of Keat’s romantic views of nature interwines with her portrayal of death. She reveals
to the audience that death is not a thing to fear but has its own beauty and is a cycle of renewal
and revival. Campion thus forces the audience to reexamine Keats notions of an eternal
existence with regards to nature’s apparent immortality and the transience of life. Thus, we can
observe how texts such as Bright Star can be interpreted beyond their origin, with
recontextualization serving as a renewed interpretation and conversation between the
composers.
The narrative poem “The Eve of St Agnes” by John Keats represents a romanticised portrayal of
gender roles and the notion of female subservience. Keats explores this ideal in the line “As
though a tongueless nightingale should swell/Her throat in vain, and die, heart stifled”. The use
of simile compares the image of a nightingale struggling to sing with the silent and submissive
nature expected of females, in this case Madeline. By highlighting the ‘stifled heart’ that arises
when one is unable to speak out, Keats highlights the tragic consequences of silencing women’s
voice and their emotions. This resonates with the experiences of women in the Romantic era
who were often confined to traditional gender roles and expectations and denied the
opportunity to express themselves and their desires. Keats further highlights this suppression of
female agency in the line “But to her heart, her heart was voluble/paining with eloquence”. The
metaphor suggests that Madeline’s emotions extremely intense, yet she is unable to express
them, so much so that it “pains” her. This highlights that the suppression of emotions results in
a severe toll on a woman’s mental and emotional wellbeing. Keats thus highlights the emotional
conflict between expressing desires and obeying the societal expectations of women. Jane
Campion’s film “Bright Star” directly challenges Keat’s representation of women by focalising
her film through the female character of Fanny Brawne, presenting women as independent,
aspirational individuals rather than the societal interpretation of women as reliant and
submissive. This is represented during the beginning scenes of the film (timestamp) where, after
Fanny converses with Keats of her stitching, Brown says “Has she annoyed you sufficiently?
She’s done brilliant well with me”. Brown directly represents the societal views typical on the
suppression of female agency. However, the close shot of Fanny’s face reveals an expression of
annoyance and disgust, colliding powerfully with the societal expectations of female
suppression of emotions. Through this, Campion challenged the traditional portrayal of women
as passive and compliant, instead choosing to highlight Fanny’s strength and resilience in the
face of societal pressure to conform. Campions feminist lens thus provide Fanny with a
recontextualised voice, as seen in her response “My stitching has more merit and admirers than
your two scribblings put together.” This feminist reimagination of the character of Fanny directly
clashes with the societal norms prevalent during Keats’ time. Fanny is given independence
through her stitching, challenging the ideal that women cannot support themselves and are
wholly dependent on men for support. Furthermore, the use of a high angle shot reveals during
this scene reveals that Keats and Brown looking up at Fanny, while the low angle shot on Fanny
establishes a sense of empowerment and voice. For further emphasising the power of her
female voice and the independence she and representation of Keats life through the eyes and
voice of Fanny compels the audience to reexamine Keats poetry within the context of feminism,
resonating with the postmodern values of gender equality. Consequently, we can observe that
Campion moves beyond Keat’s origins of female suppression and embeds her own
recontextualised values of the power of female voices into the film.
Thus, the beautifully crafted textual conversation between Keats poetry and Campions film
explores the recontextualised values of desire for transcendence and escapism from mortality,
and the suppression of female agency and voice in society, providing readers with an enhanced
appreciation for the works of both composers.
SECOND BODY: BRIGHT STAR WERE I STEADFAST AND BRIGHT STAR MOVIE
EXPLORE THE THEMES OF LOVE AND DESIRE FOR A PERMANENT INTIMACY (also
explore the feminist context: fanny isn’t discussed in his poems by name, but bright star movie is
from her perspective ect)

WHEN I HAVE Fears