List of pathways
| Owner | Title | Description | View |
|---|---|---|---|
Charles Drazin |
Demo Pathway |
Looking at Intertextuality |
|
Tung Mac |
Orlando |
Pathway reflecting and illustrating the intertextual nature of Orlando. |
|
Sophie Durham |
Intertextuality in Orlando, in what ways are the aims of Woolf and Potterthe same/different? |
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. |
|
Emily Andrews |
orlando intertextuality |
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). |
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Chris Engel |
Intertextual Orlando |
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Klara Hallen |
Orlando |
Intertextual nature of Orlando |
|
William Innes |
Gender & Identity - Intertextuality in Orlando |
An exploration of intertextuality in Orlando through themes of gender and identity. I have chosen this approach as the most obvious, yet complicated and interesting theme in Sally Potter's and Virginia Woolf's work. |
|
Andrew White |
Orlando: Book to Movie |
As part of my Film Studies course, I will be using various strands of investigation into how a very personal piece of literature can be re-moulded into an equally personal film project. At the moment I have no clear strategy but as I work my way through this domain, I will attempt to make a coherent pathway that will enable me (and anyone else foolish enough to tread in my footprints) to make some sense of the transference from paper to celluloid |
|
Meredith Veach |
Intertextual Nature of Orlando |
a look into the production design and the obvious themes of gender vs identity and the need to conform to society. |
|
Philippa Selby |
Intertextuality in Orlando |
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Sarah Aksland |
Intertextuality in 'Orlando' |
Looking at Sally Potter's film version of Virginia Woolf's novel, 'Orlando,' specifically regarding it's intertextual nature. |
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Patrick Strain |
ORLANDO |
ORLANDO 1928 AND 1992 |
|
Ada Teistung |
Potter and Woolf |
Intertextuality in, and adaptation of Orlando. |
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Abigail Stroman |
Orlando |
Exploring Intertextuality in Orlando |
|
Benjamin Rider |
Water |
How does Sally Potter use 'Water'? |
|
Klea Villanueva |
does life really have a happy ending? |
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 w |
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Benjamin Rider |
Sally Potter's pathway of visual grammer |
A collection of what I believe constructs Sally Potter's filmic language, her artistic imagining and cultural embedding through directorial choices. |
|
Ruta Buciunaite |
pathway |
||
Sophie Mayer |
Orlando's Book |
How does Orlando's manuscript come into being?Where does writing happen in the film and what does Orlando's manuscript mean? |
|
Tom Szekely |
Babysteps |
||
Charles Drazin |
CD, SP-ARK, NFT1 |
The Living Archive |
|
Grace Herbert |
Experimental Pathway |
This is my first pathway and I am using it simply to highlight certain sections of this website that particularly interest me. |
|
Sade Akin |
The completed screenplay |
||
Daniel Ostanek |
the film's reception |
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Elena von Kassel Siambani |
Costumes are great 2 |
We would be interested in seeing the evolution of the costume design in Orlando. |
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Elena von Kassel Siambani |
Costumes are great |
Why are there only two pictures? This really is not enough. |
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Zhang Zhuangzhuang |
sally potter's dairy |
||
Zhang Zhuangzhuang |
use of location/costume/decor |
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Guy Davis |
Costumes |
Inspirations, design and practicality |
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Elena von Kassel Siambani |
Michael Powell connection |
The ending of Orlando was a surprise. It reminded me of the home movie sequence in Peeping Tom. While the rest of the film has a a Technicolor Powell and Pressburger feel. |
|
Daniel Robson |
Daniel986 |
Orlando |
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Nicolle Cannock |
Nicolle |
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Phoenix Alexander |
Artistry and the film |
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Jonathan Gentle |
Reception |
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Sarah Miles |
Orlando - Initial Ideas |
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William Preisner |
Pre Production |
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Danny Branch |
Screenwriting: Drafts |
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Alexia Kombou |
Alexia pathway1 |
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Marilena Parouti |
Reception |
What was the public and the critical reception of Orlando? |
|
Ally Margolis |
am pathway |
||
Jo Stephenson |
Cross-gendered voice |
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. |
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Tamara Sefcovicova |
sally potter2 |
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Sara Kurp |
editing |
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Tamara Sefcovicova |
sally potter1 |
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Ariane Osman |
interesting stuff |
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Leanne Furneaux |
Influences upon adaptation |
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Emma Qubain |
Development of setting |
Sketches of the locations and settings for Orlando. |
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Julian Nshuro |
'Orlando' - Pathway 1 |
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Lavinia Brydon |
Location |
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Ben Taylor |
Pre-production |
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Ben Taylor |
Screenwriting |
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Lucy Bolton |
Costume |
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Sophie Mayer |
Hauntings: Woolf's Orlando as Ghost |
Looking at the presence of Virginia Woolf's novel Orlando in Potter's cinematic adaptation, thinking particularly about ideas of haunting and ghosting. |
|
Libby Saxton |
passage of time |
How does the film represent the passage of time? How did SP approach the particular challenges posed by the novel's time-frame? |
|
Stephen Masters |
On location in Khiva |
Put your camel to bed |
|
Annette Kuhn |
reviews and reception |
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? |
|
Sophie Mayer |
Travelling Shots: Travel, Movement and Empire in Orlando |
Research for a paper on Orlando's relocation of Woolf's Constantinople to Khiva, exploring the subtexts of imperial history and the significance of travel for the film (and the production). |
|
Carolina Gonzalez |
Quentin Crisp |
Pictures and mentions of the actor |
|
Corinn Columpar |
form |
||
Thom Coates Welsh |
Original Handwritten draft |
what it says in the title |
|
Bella Wing-Davey |
Orlando- the ending |
the issue of adapting a book and bringing it into the present- the decision to have a modern ending- and the process of creating a modern ending..seeing SP process of realising this |
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Bella Wing-Davey |
virginia woolf- women and film |
||
Malgosia Tolak |
Khiva |
Items in the archive that were tagged under Khiva |
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Malgosia Tolak |
Hatfield house |
Items that had anything to do with scene 2 |