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Used in pathways:

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

Orlando by Tung Mac,

Intertextuality in Orlando

Intertextuality in Orlando by Emily Spyt,

Potter says that ‘ in order to keep faith with Virginia Woolf’s use of real time ending the novel, the film had to end when it was completed-1992.’ Potter does this successfully as not only does she take on this idea the ending is not formed until everything else is shot. Although the film ending and the novel endings are different Potter loyally attempts to ‘think myself in Virginia Woolf’s consciousness’ and create a appropriate ending that Woolf herself might have written if she had lived until 1992.

Intertextuality in Orlando by Oscar Forshaw-Swift,

Orlando and it\'s Intertextuality by Georgina Cranmer,

Orlando by Tasha Loch,

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

Orlando by Faiqa Ahmed-Khan,

Intertextuality in Orlando

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 Hannah Burbach,

let's see what happens

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.

Intertextual Nature of Orlando by Meredith Veach,

a look into the production design and the obvious themes of gender vs identity and the need to conform to society.

does life really have a happy ending? by Klea Villanueva,

I wonder if Sally Potter is a big fan of happy endings... The endings in all three feature films (Orlando, The Tango Lesson and YES) are quite happy. It seems that in all of them the character has found something that makes them feel in balance with themselves. Orlando, who in my opinion seems to represent both men and women throughout history, seems to be in such peace at the end of the movie. Sally finally finds herself in Tango with Pablo's help, and in YES, She becomes a different woman

Pathway by Ruta Buciunaite,

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.

Gender and Androgyny within Orlando by Anna De Guia-Eriksson, Student

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 Lucille Gaudin, Student

Intertextuality in Orlando by Nicolas Segura, Student

Orlando\'s Look Directly At The Camera by Stephanie Hirlemann, Student

I compiled various assets about how Orlando looks at the camera. While I was watching the film, I noticed that it was a specific stylistic choice. By sifting through the documents, this knowing look from Orlando meant to address the viewers. In Sally Potter's commentary, she explains the direct look exemplifies a “kind of release… a kind of flying out of the historical period right into the present moment." These random moments when Orlando looks at the camera brings a sense of knowing and feeling that the viewers can relate to.

My Default Pathway by Nicole Moir, Student

Fluidity of Gender. by Suzanne Harris, Student

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

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

My Default Pathway by Emam Awad, Student

My Default Pathway by Karolina Obrecka, Student

Orlando's Direct Address by Taylor McCausland, Student

An exploration of how Sally Potter's use of direct-to-camera address in Orlando functions as a way of adapting Woolf's literary voice to the screen.

Description 1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - (Tilda Swinton) in the film
Asset ID SPA0000421
Date 1992