紐西蘭導演珍•康萍是1990年代以来，相當重要的女性電影創作者，然而她的影片卻較 少獲得應有的關注。珍•康萍的最新作品《璀璨情詩》不僅跨界轉向詩歌、傳記與英國文学史， 而且也將「男性」濟慈的傳記故事，翻轉成為「女性」芬妮的愛情追尋。本文引用電影理論觀點、 透過文本分析的方法，解讀與詮釋《璀璨情詩》的影音美學、敘事形式與性別形象；同時藉由 互文分析的方式，引用《濟慈詩選》與《璀璨情詩》的中譯字幕，與本片不斷地對話，比較與 論證濟慈詩作嵌入敘事形式的過程，突顯《璀璨情詩》的特殊意涵。

Jane Campion, a New Zealand director, could be said the very important female film-maker since 1990s. Nevertheless, her films receive a little attention. Campion’s newest work entitled Bright Star (2009) not only crosses the lines to poetry, biography and British literate history, but also transverses John Keats’ ‘male’ biographical story to Fanny Browne’s ‘female’ love-searching. This article cites the perspectives of film theory and adopts the method of textual analysis to read and interpret this film by three dimensions including visual-audio aesthetics, narrative form and gender image. Meanwhile, it also adopts the method of intertextual analysis and cites The Selected Poems of John Keats and Mandarin subtitle of Bright Star, unceasingly dialogizes with this film. This article compares and debates the procedure of inscribing the poems of John Keats into narrative form, in order to make Bright Star prominent.