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Used in pathways:

Quentin Crisp by Carolina Gonzalez ,

Pictures and mentions of the actor

\'Orlando\' - Pathway 1 by Julian Nshuro,

The Role of Gender In Sally Potters \'Orlando\' by Eleanor Bliss,

Orlando- A film by Sally Potter based on the novel by Virginia Woolf by Lidia Buonaiuto,

Reflect upon and illustrate the process of adapting Virginia Woolf's 1928 novel, Orlando, to film.

Orlando intertextuality by Rachel Mathias,

Orlando by Tasha Loch,

Exploring the intertextual nature of Sally Potter's film, Orlando

The Orlando Adaptation by Harry Ryan,

The intertextual nature of Sally Potter's film adaptation of Orlando (1992)

Orlando\'s Intertextual Nature with regards to Potter\'s casting choices. by Yasmin Coutain-Springer,

Looking at Orlando through the realm of casting, trying to understand the significance of casting Swinton and Crisp in the film.

Intertextuality- Orlando by Natalie Marcus,

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.

Intertextuality in Orlando, in what ways are the aims of Woolf and Potterthe same/different? by Sophie Durham,

An exploration into the ways in which Woolf and Potter construct their versions of Orlando and how these show similar motives as authors, or perhaps how these motives might differ, possibly due to the fact that they use different mediums to tell the same story.

orlando intertextuality by Emily Andrews,

Creating your own online ‘pathway’, use the SP-ARK multi-media archive to reflect upon and illustrate the intertextual nature of Orlando (1928 and 1992).

Gender & Identity - Intertextuality in Orlando by William Innes,

An exploration of intertextuality in Orlando through themes of gender and identity. I have chosen this approach as the most obvious, yet complex and interesting theme in Sally Potter's and Virginia Woolf's work. Same person/Same story. No difference. Just a different sex/Just a different medium.

Potter and Woolf by Ada Teistung,

Intertextuality in, and adaptation of Orlando.

Orlando by Abigail Stroman,

Exploring Intertextuality in Orlando

Intertextuality in Orlando by Kathryn Kenny, Student

An exploration of the ways in which Woolf's base text and other texts are incorporated and added into Potter's adaptation.

My Default Pathway by Lucille Gaudin, Student

My Default Pathway by Ashley Flatley, Student

Fluidity of Gender by Lindsey Menard, Student

Exploration on the ways in which gender becomes a fluid concept throughout Orlando and the aspects of the film that contribute to this.

Necessity of Color Pallets within Orlando by Ali Schutz, Film Studies Student

Using different color pallets within costumes and set designs help to portray the different epochs the film takes the watcher through. Through these different examples, one sees gold, reds, and oranges within the Elizabethan period and then later on towards the end of the film, one can view only blues and greens as Orlando enters into the Victorian period. The use of different colors helps guide the watcher throughout the vast amount of time traveled in Orlando.

Only Connect by Charles Drazin,

The purpose of this pathway is to 'reflect upon and illustrate' the process of adapting Orlando.

Orlando from Novel to Film by Rea Anastasopoulou, Student

Pathway to reflect upon and illustrate the process of adapting Virginia Woolf’s 1928 novel, Orlando, to film.

Orlando by Matous Sedlak, Student

Fluidity of Gender. by Suzanne Harris, Student

Looking at the adaptations of gender ideas from Woolf's novel to Sally Potter's film.

My Default Pathway by Nicole Moir, Student

The essence of design in adaptation by Mitchell Harris, Student

The focus here is on the nature of design in adaptation. One example includes key aspects such as location from pre-production sketches to how the final set looks in production, and how this relates to the words found in Woolf's novel. Additionally it's interesting to note the differences in adaptation across Orlando's 400 year journey.

Reading between the stitches: Showing social status through costume in Orlando by Elspeth Paterson, Student

The development of costume across the film mirrors the development of character. What are we as an audience able to decipher purely by the clothing and costumes used.

Representations Of Gender in Orlando. by Nicholas Subramaniam, Student

Exploring the representation of gender, through character, actors and costume in the adaptations of Orlando.

My Default Pathway by Billie Hawes, Student

How is mise en scène used in Orlando to portray gender and social status? by Ray Barron, Student

Gender and Sexuality in Orlando by Melanie Allickson, Student

Adapting Orlando through the words of Sally Potter by Gaia Porcu, Student

My Default Pathway by Karolina Obrecka, Student

the earring in ORLANDO by Xin Zhou, MA Student

My Default Pathway by Meghan Longo, MA Student

EDITED: Costumes in Orlando by Andrea Paul, MA Student

My Default Pathway by Christopher Sheppard, Producer

FH&H by Martha Diaz, Student

My Default Pathway by Jasmyn Castro, Student

Crisp's pathway through gender by Karl McCool, Student

Description 1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - Queen Elizabeth I (Quentin Crisp) in the film
Asset ID SPA0000420
Date 1992
Scene Number 3