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Essays by john keats
John keats as a poet essay
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When adapting a work of literature into a film, the filmmaker takes into consideration what that specific piece of literature conveys in terms of motif and attempts to portray that aesthetic value onto the screen. Jane Campion’s Bright Star is an adaptation of John Keats’ letters and poems to Fanny Brawne. Her film is a faithful adaptation in which it captures the emotional aspects of these pieces of literature and physically displays them on the screen in a manner that represents the subtext of the literature it is based on. The difficulties of adapting these letters and poems arises from the one-sided perspective that only reveals some insight into how John Keats felt. Campion’s take on the tragic love affair doesn’t play from Keats’ point of view, where she had accounts into his thoughts, instead, Campion decides to tell the story of Bright Star from Fanny Brawne’s perspective allowing her to manipulate the story by creatively filling in the gaps. In order to do this, Campion uses John Keats’ letters and poems as a backdrop to base her screenplay on, as well as using the numerous resources available about Keats’ history in a manner that may not be true in the absolute sense but in a way that is faithful to the story of these two lovers.
Crafting a film based on letters and poems is the most interesting aspect of the process of making Bright Star. Campion had the challenge of not only trying to find ways to input the letters and poetry into the film but also had to create the scenes that inspired Keats to write these pieces. The plight of uncertainty that shrouds the accurate telling of history was not a factor when Campion wrote the screenplay as she borrowed from Keats’ idea of “negative capability” in which Keats stated th...
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...ce left by John Keats, Campion manages to tell the story of a brief moment in Fanny Brawne’s life as well as being faithful to Keats’ writings.
Works Cited
Bright Star. Dir. Jane Campion. Perf. Abbie Cornish, Ben Whishaw, Paul Schneider. Sony Pictures, 2009. DVD.
Keats, John. Bright Star: Love Letters and Poems of John Keats to Fanny Brawne. New York: Penguin Books, 2009. Print.
Keats, John. “To George and Thomas Keats.” The Norton Anthology of English Literature Eighth Edition. Ed. Alfred David, et al. New York: Norton & Company, 2006. 942-943. Print.
Motion, Andrew. Keats: a biography. University of Chicago Press ed. Chicago: University Of Chicago Press, 1999. Print.
Tobias, Scott. "Jane Campion | Film | Interview | The A.V. Club ." The A.V. Club . N.p., 22 Sept. 2009. Web. 28 Feb. 2011. .
Keats, John. “The Eve of St. Agnes”. The Norton Anthology of English Literature: The Romantic
Phillips, Gene D. Conrad and Cinema: The Art of Adaptation. New York: Peter Lang Publishing, Inc., 1995.
After a four week survey of a multitude of children’s book authors and illustrators, and learning to analyze their works and the methods used to make them effective literary pieces for children, it is certainly appropriate to apply these new skills to evaluate a single author’s works. Specifically, this paper focuses on the life and works of Ezra Jack Keats, a writer and illustrator of books for children who single handedly expanded the point of view of the genre to include the experiences of multicultural children with his Caldecott Award winning book “Snowy Day.” The creation of Peter as a character is ground breaking in and of itself, but after reading the text the reader is driven to wonder why “Peter” was created. Was he a vehicle for political commentary as some might suggest or was he simply another “childhood” that had; until that time, been ignored? If so, what inspired him to move in this direction?
The Virgin and the Whore: An Analysis of Keats’s Madeline in “The Eve of Saint Agnes”
John Keats’s illness caused him to write about his unfulfillment as a writer. In an analysis of Keats’s works, Cody Brotter states that Keats’s poems are “conscious of itself as the poem[s] of a poet.” The poems are written in the context of Keats tragically short and painful life. In his ...
While Lord Byron's poem enhances the beauty of love, Keats' does the opposite by showing the detriments of love. In “She Walks in Beauty,” the speaker asides about a beautiful angel with “a heart whose love is innocent” (3, 6). The first two lines in the first stanza portray a defining image:
The tales were rediscovered around 1880 inspiring the Irish literary revival in romantic fiction by writers such as Lady Augusta Gregory and the poetry and dramatic works of W.B. Yeats. These works wer...
Chris Marker’s Sans Soleil is a free-form style travel diary told through the letters of a fictional cameraman Sandor Krasna. A woman, Alexandra Stewart, who remains unseen throughout the entire film, reads these letters. The film explores themes of time, memory, and history. In the essay “In Search of the Centaur: The Essay Film” author Phillip Lopate defines five characteristics he believes a film must have in order to be considered an essay film (245-7). It can be argued that Chris Marker’s Sans Soleil is an essay film based on most if not all of Lopate’s defining characteristics.
Keats’ poetry explores many issues and themes, accompanied by language and technique that clearly demonstrates the romantic era. His poems ‘Ode to a Nightingale’ and ‘Bright Star’ examine themes such as mortality and idealism of love. Mortality were common themes that were presented in these poems as Keats’ has used his imagination in order to touch each of the five senses. He also explores the idea that the nightingale’s song allows Keats to travel in a world of beauty. Keats draws from mythology and christianity to further develop these ideas. Keats’ wrote ‘Ode To A Nightingale’ as an immortal bird’s song that enabled him to escape reality and live only to admire the beauty of nature around him. ‘Bright Star’ also discusses the immortal as Keats shows a sense of yearning to be like a star in it’s steadfast abilities. The visual representation reveal these ideas as each image reflects Keats’ obsession with nature and how through this mindset he was able
The first chapter of George Bluestone’s book Novels into Film starts to point out the basic differences that exist between the written word and the visual picture. It is in the chapter "Limits of the Novel and Limits of the Film," that Bluestone attempts to theorize on the things that shape the movie/film from a work of literature. Film and literature appear to share so much, but in the process of changing a work into film, he states important changes are unavoidable. It is the reasoning behind these changes that Bluestone directs his focus, which is the basis behind the change. He starts to look at the nature of film and literature, as a crucial part in the breakdown of this problem. It is only through a discussion into nature of each of these, that Bluestone can discover where film and literature seperate, and also develop a close to accurate theory on the laws that direct the course of change from novel to film.
New York: Norton, 2000. Ramazani, Jahan. " The Elegiac Love Poems: A Woman Dead and Gon(n)e. " In Yeats's Poetry, Drama, and Prose.
Throughout Keats’s work, there are clear connections between the effect of the senses on emotion. Keats tends to apply synesthetic to his analogies with the interactions with man and the world to create different views and understandings. By doing this, Keats can arouse different emotions to the work by which he intends for the reader to determine on their own, based on how they perceive it. This is most notable in Keats’s Ode to a Nightingale, for example, “Tasting of Flora, and Country Green” (827). Keats accentuates emotion also through his relationship with poetry, and death.
On the surface Philip Sidney’s “Astrophil and Stella” is a poem about courting a young woman. It is a common assumption and an easily justified one. The title presumes as much as the “star lover” clings to hopes of attaining the “star”. Astrophil attempts to win the heart of Stella through his poetry. Although he is not short of emotion he is in search of adequate words. The true purpose of the poem reveals itself at the end, “look in thy heart, and write” (Sidney Line 14). This sonnet is about the courting of a lover, but it is more importantly the story of numerous writers throughout time. Sidney is portraying the writer with writer’s block and the method to subjugate this voluminous evil. Every writer, at one time or another develops a case of writer’s block. A period in which it becomes difficult to express your thoughts or ideas on paper with the qualities the writer desires. Astrophil and Stella is a metaphor for the relationship between a writer and his audience, a writer and his work, a writer at battle with writer’s block.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.