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Used in pathways:

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.

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.

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.

How is mise en scène used in Orlando to portray gender and social status? by Ray Barron, 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 61 - (Tilda Swinton) and Publisher (Heathcote Williams) in the film
Asset ID SPA0000441
Date 1992
Scene Number 72