Used in pathways:

reviews and reception by Annette Kuhn,

How was Orlando reviewed on its release, is there any evidence of audience response, and what have academic critics and scholars written about the film?

Distillation of Adaption by Daniel Fisher,

A list of documents processing the reduction of the novel into key scenes in order to create the film

orlando by Georgia Beverton,

Orlando by Meredith Nadeau,

orlando to orlando by Jeanne le Roux,

the process of adapting the essence of orlando from literature to film.

The Different Path to Reach Orlando by Ryan Reyna,

An aim in understanding the different steps Sally Potter took to reach the same essential meaning behind Woolf's Orlando.

From Vita to Tilda by Andrew White,

Six steps of adaptation

Orlando by Hannah Burbach,

let's see what happens

Orlando by Sarah Fivash,

Intertextuality in Orlando: gender fluidity and the re-shaping/accentuasion of themes and essence.

Pathway 2: star intertextuality by Emily Andrews,

The intertextuality of stars in Sally Potter's 'Orlando'. Explore how an actor's parcipitationand performance in a film creates new meaning.

Orlando by Klara Hallen,

Intertextual nature of Orlando The final comment about how she intends to begin and end in the present is interesting because I think it is relevant to every part of the process. While adapting a work, one has to think of all the different elements that go into it but ultimately the most important to consider the context that you are bringing it into. It was a smart move on Potter\'s part by bringing the film up to the present day since this is what she has done with the work.

Orlando by Abigail Stroman,

Exploring Intertextuality in Orlando

CD, SP-ARK, NFT1 by Charles Drazin,

The Living Archive The great joy of archives is the way that they allow you to see behind the facade, to bring alive the thinking that resulted in the documents. For this reason, I find notes such as this irresistible. In their immediacy, they help you get into the mind of the artist more than the work itself. The finished painting, book or film is as much a process of hiding as revealing. But if you come across notes such as these in an archive, then you begin to get that wonderful sense of being able to see all.

My Pathway by Ally Margolis,

Cross-gendered voice by Jo Stephenson,

The way in which the voice is used throughout the various drafts of the film to merge gender boundaries, and to transcend the traditional, biological limitations of a character's sex.

Orlando: Adaption, by Stevie Christian, Student

The casting of Vita Sackville-West and Tilda Swinton in book and film by Adam Plummer, Student

I am interested in comparing what Vita Sackville-West signifies in Virginia Woolf\\\'s \\\'biography\\\', with what Tilda Swinton signifies in Sally Potter\\\'s film.

Reflection on Orlando\\\'s intertextual reality by Paul Numann, Student

Some explanations for Potter's decision on certain locations, set and costume design, and focusing on cinematography.

My Default Pathway by Charles Tirella, Student

The Idea of Gender as a Performance by James Kruglinski, Student

Both Virginia Woolf and Sally Potter are interested in exploring the duality of gender through the story of Orlando. Is a person's sex something that is fixed? Are men and women really that different? Perhaps gender is not something that has already been predetermined. Rather, Woolf and Potter propose that it's an ideology “that has been reinforced by tradition, inheritance and convention”. Both the novel and the film use Orlando’s sex change as an opportunity to explore and discover the answer to this issue.

My Default Pathway by Harveen Panesar, Student

My Default Pathway by Peter Sutton, MA Student

Description Video file, Digital, Venice Film Festival Press Conference
Asset ID SPA0000416
Date 1992