• Respond critically to the use of at least two pieces of dialogue and/or voiceover in the extract. How is each piece used to develop characters or ideas?
• Respond critically to the use of lighting in the extract. How does it create mood or develop character/ideas in the extract? How does it manipulate or affect the audience?
• Respond critically to the way two film elements work together to create meaning. How do they complement/contrast with each other, and why?
• Respond critically to the use of at least two costumes in the extract. How are they used to develop character or ideas?
• Respond critically to the key idea in the extract. How is each key idea developed?
“The course of love never did run smooth”. Shakespeare, in A Midsummer …show more content…
The voiceovers are the actors Wishaw and Cornish reading out Keats and Fanny’s letters to each other. The letters Wishaw reads are the actual letters Keats sent to Fanny, however Cornish’s are written by Campion, as Keats destroyed all Fanny’s unopened letters to him before he died. The music used is naturalistic – Mozart’s Serenade K361 – played by one, or occasionally two, cellos. This is played inexpertly, simply as it would have been played at the time. Campion uses this simplicity, combined with the raw and heartfelt love letters, to create a setting of intimacy. This is further increased by the letters gaining in emotion, as Keats moves from describing his lodgings, “a very pleasant cottage window looking onto a beautifully hilly country with a view of the sea” to more passionate lines, “I almost wish we were butterflies and lived but three summer days. Three such days with you I could fill with more delight than fifty common years could ever contain.” As his fervor increases, the intensity of the music moves concordantly, with the cello increasing in volume. Campion does not use the music to tell the audience how to feel. Rather, she uses it to enhance the beauty and elegance of Keats’ love letters. These, nearly 200 years old, are still considered the most famous love letters in English literature. Campion in an interview describes their communication as, “the summer of extraordinarily passionate love letters, which to receive must have been overpowering”. Yet she still manages to write believable and heartfelt responses for Cornish to read. These letters, along with the moving music, leave the audience in an elevated state, similar to that of Fanny as she lies in the room of butterflies. However, in this particular scene with the butterflies, there is no voiceover and music, instead silence with a small amount of dialogue between Fanny and her
• Respond critically to the use of lighting in the extract. How does it create mood or develop character/ideas in the extract? How does it manipulate or affect the audience?
• Respond critically to the way two film elements work together to create meaning. How do they complement/contrast with each other, and why?
• Respond critically to the use of at least two costumes in the extract. How are they used to develop character or ideas?
• Respond critically to the key idea in the extract. How is each key idea developed?
“The course of love never did run smooth”. Shakespeare, in A Midsummer …show more content…
The voiceovers are the actors Wishaw and Cornish reading out Keats and Fanny’s letters to each other. The letters Wishaw reads are the actual letters Keats sent to Fanny, however Cornish’s are written by Campion, as Keats destroyed all Fanny’s unopened letters to him before he died. The music used is naturalistic – Mozart’s Serenade K361 – played by one, or occasionally two, cellos. This is played inexpertly, simply as it would have been played at the time. Campion uses this simplicity, combined with the raw and heartfelt love letters, to create a setting of intimacy. This is further increased by the letters gaining in emotion, as Keats moves from describing his lodgings, “a very pleasant cottage window looking onto a beautifully hilly country with a view of the sea” to more passionate lines, “I almost wish we were butterflies and lived but three summer days. Three such days with you I could fill with more delight than fifty common years could ever contain.” As his fervor increases, the intensity of the music moves concordantly, with the cello increasing in volume. Campion does not use the music to tell the audience how to feel. Rather, she uses it to enhance the beauty and elegance of Keats’ love letters. These, nearly 200 years old, are still considered the most famous love letters in English literature. Campion in an interview describes their communication as, “the summer of extraordinarily passionate love letters, which to receive must have been overpowering”. Yet she still manages to write believable and heartfelt responses for Cornish to read. These letters, along with the moving music, leave the audience in an elevated state, similar to that of Fanny as she lies in the room of butterflies. However, in this particular scene with the butterflies, there is no voiceover and music, instead silence with a small amount of dialogue between Fanny and her