Original Novel, End of preface page 8 left, Chapter 1 beginning page 9 right, annotated underlines and yellow hightlight
In introducing Orlando, the first sentence provides contrasting imagery to the first scene of the film.
Black and white, handwritten, Paper, Rough draft 1 of screenplay
Starting Orlando with a reassuring sense of calm.
Black and white A4 computer printed, Paper, Revised draft of screenplay
Starting Orlando with a sense of immediate action.
1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - Queen Elizabeth I (Quentin Crisp) in the film
Gender ambiguity further explored by having Quentin Crisp play Queen Elizabeth I.
1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - (Tilda Swinton) in the film
The androgynous Tilda Swinton. Closest Personification Of Orlando or Not?
1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House
Orlando conforming to society as a female through costume. -seen also in rich mise-en-scene
1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House
Orlando conforming to society as a male through costume -seen also in rich mise-en-scene
Video file, Digital, Selected Scene Commentary by Sally Potter
A4 pages, handwritten in pencil, Paper, Handwritten notes on intertitles, with sketches and key quotes
Representation of time through definitive categories -Woolf travelled through 400 years, perhaps spending more pages and detail on one meeting and a few sentences to jump a few hundred years foward - How could Potter translate this to film?
Black and white book pages, Paper, On Tour With '-Sally Potter's diary published in 'Projections 3' on 21/03/1994