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Pathway Name By Profession Description Created on
Orlando - from literature to film Lawrence Parmenter Translating the novel to the screen. What is lost? What is gained? Singular author vs creation by committee? 29/11/2011 17:15
Quentin Crisp Carolina Gonzalez Pictures and mentions of the actor 30/11/2011 11:55
reviews and reception Annette Kuhn 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? 30/11/2011 12:04
Travelling Shots: Travel, Movement and Empire in Orlando Sophie Mayer 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).

"endings are beginnings": the novel is circular, beginning and ending with "home." The film is also circular, but moves on from the "clinging to the past" that Potter notes. For Woolf, Home is the "Great House" (and England), which Orlando possesses despite her change of sex, a reversal of the gendered laws that deprived Vita Sackville-West of Knole. But Sackville-West was also a traveller, and travel writer, and the novel is full of constant motion (at least until Orlando becomes female). The film suggests the novel's subtext of change as constant.
30/11/2011 12:11
Hauntings: Woolf's Orlando as Ghost Sophie Mayer Looking at the presence of Virginia Woolf\'s novel Orlando in Potter\'s cinematic adaptation, thinking particularly about ideas of haunting and ghosting. 30/11/2011 13:49
Hatfield house Malgosia Tolak Items that had anything to do with scene 2 30/11/2011 14:18
Khiva Malgosia Tolak Items in the archive that were tagged under Khiva 30/11/2011 14:21
virginia woolf - women and film Bella Wing-Davey 30/11/2011 15:06
Orlando- the ending Bella Wing-Davey 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 30/11/2011 15:39
Original Handwritten draft Thom Coates Welsh 30/11/2011 15:55
Distillation of Adaption Daniel Fisher A list of documents processing the reduction of the novel into key scenes in order to create the film 30/11/2011 21:35
Costume Lucy Bolton 30/11/2011 20:52
Location Lavinia Brydon 30/11/2011 20:56
'Orlando' - Pathway 1 Julian Nshuro 30/11/2011 20:59
Influences upon adaptation Leanne Furneaux 30/11/2011 21:17
On location in Khiva Stephen Masters Put your camel to bed 30/11/2011 17:09
History Abigail Stevens My pathway engages the theme of history in both the novel and the film. The four centuries through which Orlando lives provide an evocative and symbolic background for the story. 30/11/2011 21:53
The Role of Gender In Sally Potters 'Orlando' Eleanor Bliss 30/11/2011 22:00
Orlando Hanna Ibraheem The adaptation of 'Orlando' from literature to novel, and how each type shows the transgression from male to female 30/11/2011 22:15
Orlando; Pathway Sade Akin 30/11/2011 22:46
Orlando- A film by Sally Potter based on the novel by Virginia Woolf Lidia Buonaiuto Reflect upon and illustrate the process of adapting Virginia Woolf's 1928 novel, Orlando, to film. 30/11/2011 22:49
orlando Georgia Beverton 01/12/2011 11:19
Orlando Kiran Chohan Sally Potter's approach to gender in her adaptation 01/12/2011 11:37
Orlando Meredith Nadeau 01/12/2011 11:42
Key scenes and themes in Orlando Rebecca Reeves 01/12/2011 11:53
orlando to orlando Jeanne le Roux the process of adapting the essence of orlando from literature to film. 01/12/2011 12:06
The Different Path to Reach Orlando Ryan Reyna An aim in understanding the different steps Sally Potter took to reach the same essential meaning behind Woolf's Orlando. 01/12/2011 12:24
Orlando Tung Mac Intertextuality in Orlando 03/12/2011 17:04
An investigation of the intertexuality in Orlando James Anderson 03/12/2011 17:10
Intertextuality in Orlando 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. 03/12/2011 17:51
Intertextuality in Orlando Oscar Forshaw-Swift 03/12/2011 18:02
Orlando and intertextuality Sam O'Sullivan Exploring the intertextual nature of Sally Potter\'s Orlando 06/12/2011 22:18
Orlando and it's Intertextuality Georgina Cranmer 06/12/2011 22:32
Sally Potter's Orlando and Intertexuality Corey Hill 06/12/2011 23:21
Orlando intertextuality Rachel Mathias 06/12/2011 23:46
Orlando Tasha Loch Exploring the intertextual nature of Sally Potter's film, Orlando 07/12/2011 00:21
From Vita to Tilda Andrew White Six steps of adaptation 07/12/2011 00:29
Adopting Orlando Ksenia Petrova The adaptation of the Novel by Wirginia Wolf "Orlando" and the research of the material used during the filming. 07/12/2011 12:27
The Orlando Adaptation Harry Ryan The intertextual nature of Sally Potter's film adaptation of Orlando (1992) 07/12/2011 12:37
Intertextuality in Orlando Adam Field 07/12/2011 12:42
Orlando Gurpreet Nota 07/12/2011 12:51
Orlando Faiqa Ahmed-Khan Intertextuality in Orlando 07/12/2011 13:14
Orlando's Intertextual Nature with regards to Potter's casting choices. Yasmin Coutain-Springer Looking at Orlando through the realm of casting, trying to understand the significance of casting Swinton and Crisp in the film. 07/12/2011 13:26
Intertextuality- Orlando Natalie Marcus 07/12/2011 13:31
Orlando Hannah Burbach let's see what happens 07/12/2011 13:38
Production Design Vicki Callahan 07/12/2011 13:52
Orlando Sarah Fivash Intertextuality in Orlando: gender fluidity and the re-shaping/accentuasion of themes and essence. 07/12/2011 13:54
Orlando Daniel Leggett 07/12/2011 14:51
Pathway 2: star intertextuality Emily Andrews The intertextuality of stars in Sally Potter's 'Orlando'. Explore how an actor's parcipitationand performance in a film creates new meaning. 07/12/2011 14:54
Intertextuality in Orlando, in what ways are the aims of Woolf and Potterthe same/different? 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. 08/12/2011 12:57
orlando intertextuality 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). 08/12/2011 13:42
Orlando 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.
08/12/2011 14:11
Gender & Identity - Intertextuality in Orlando 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. 08/12/2011 14:23
Orlando: Book to Movie Andrew White 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 08/12/2011 14:40
Intertextual Nature of Orlando Meredith Veach a look into the production design and the obvious themes of gender vs identity and the need to conform to society. 08/12/2011 14:49
Intertextuality in Orlando Philippa Selby Exploring intertextuality in Sally Potter's 'Orlando' (1992) 08/12/2011 15:11
Intertextuality in \'Orlando\' Sarah Aksland Looking at Sally Potter\'s film version of Virginia Woolf\'s novel, \'Orlando,\' specifically regarding it\'s intertextual nature.

When Tilda Swinton and Sally Potter were being interviewed at the BFI, they both talked about how passionate they were about creating Orlando the film, and they hoped that they could replicate the way the novel made them feel and succesfully represent this on film. As discussed in a seminar, one person's 'feelings' about a novel can vastly differentiate from another's (usually hindering the audience's enjoyment because they did not feel the same), so, when translating a medium from novel to film, which idea will resonate with all? Potter has chosen the ideas 'death' and 're-birth.' What is also interesting, is that a screenwriter will usually begin a script perhaps not totally aware of their controlling idea. Therefore, is the key to succesfully adapting a novel to film finding the 'controlling idea' of a novel and reproducing it cinematically?
08/12/2011 15:25
ORLANDO: 1928 - 1992 Patrick Strain in my pathway i will be looking at the intertexuality between Virginia Woolf's 1928 novel and Sally Potter's 1992 flm Adaptation. 08/12/2011 15:51
Potter and Woolf Ada Teistung Intertextuality in, and adaptation of Orlando. 08/12/2011 16:12
Orlando Abigail Stroman Exploring Intertextuality in Orlando 08/12/2011 16:18
Water Benjamin Rider How does Sally Potter use 'Water'? 08/12/2011 16:22
does life really have a happy ending? 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 08/12/2011 16:26
Sally Potter's pathway of visual grammer Benjamin Rider A collection of what I believe constructs Sally Potter's filmic language, her artistic imagining and cultural embedding through directorial choices. 08/12/2011 16:28
Pathway Ruta Buciunaite 08/12/2011 16:33
Orlando's Book Sophie Mayer How does Orlando's manuscript come into being?Where does writing happen in the film and what does Orlando's manuscript mean? 08/12/2011 16:47
CD, SP-ARK, NFT1 Charles Drazin The Living Archive

The great joy of archives is the way that they allow you to see behind the facade, to bring alive the thinking that resulted in the documents. For this reason, I find notes such as this irresistible. In their immediacy, they help you get into the mind of the artist more than the work itself. The finished painting, book or film is as much a process of hiding as revealing. But if you come across notes such as these in an archive, then you begin to get that wonderful sense of being able to see all.
08/12/2011 17:08
Michael Powell connection Elena von Kassel Siambani 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. 08/12/2011 17:15
Orlando - Initial Ideas Sarah Miles 08/12/2011 17:18
Pre Production William Preisner 08/12/2011 17:26
My Pathway Ally Margolis 08/12/2011 17:38
Cross-gendered voice Jo Stephenson 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. 08/12/2011 17:44
My Orlando Janko Calic Lecturer 26/01/2012 16:04
My Default Pathway Gruffudd Watts Student 02/02/2012 16:45
My Default Pathway Ashley Flatley Student 02/02/2012 16:52
My Default Pathway Richard Leigh Student 02/02/2012 17:50
The Shooting Process - an example - scene 35 Sarah Atkinson Media Academic This pathway aims to provide insights into the complexities of creating, constructing and shooting a single shot. As you can see from the list of items in the pathway, a plethora of materials are generated for each shot which can relate to their creative vision (directors notes), their logistical planning (schedules), the tracking and logging of materials (shots, takes and reel numbers, continuity), their previewing (video assist footage) and their documenting (photographic images). I attempt to provide a contextual dialogue for each of the items in the pathway, explaining their function and their relationship to one another. I have also attempted to order the items procedurally to demonstrate the off/on set workflow. 13/02/2012 11:31
My Default Pathway Lucille Gaudin Student 02/03/2012 16:21
Scriptwriting, Adaptation, Picking Potters Brains Stephanie Hartop Student in Fine Art and Histor 07/03/2012 11:04
Intertextuality in Orlando 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. 07/03/2012 17:20
Orlando as Ambassador Intextuality Alexander Kelso Student 18/03/2012 16:29
My Default Pathway Alexander Kelso Student 18/03/2012 16:30
Translating imagery from text to screen Flora Bartlett Student Examination through archive materials of how Sally Potter takes the artistic description of scenes from the novel and translates that into a visual form through cinematography and set design. 20/03/2012 19:06
My Default Pathway Stevie Christian Student 27/03/2012 01:39
Orlando: Adaption, Stevie Christian Student 20/03/2012 23:21
Orlando the novel to Orlando the film: Intertextuality and gender Briony Stas Student Thoughts on how Sally Potter used the visual medium of film to translate Virginia Wolf's literary exploration of gender, which is given to us largely through Orlando's internalised thought, into the screen. 21/03/2012 01:55
Intertextuality and the Visual Portrayal of Gender in Sally Potter\'s \'Orlando\' Rosamund Attwood Student How did Sally Potter approach the task of bringing to screen the literary exploration of gender demonstrated in Virginia Woolf\'s book? 21/03/2012 20:56
Intertextuality and gender in Orlando Rachel Clarkstone Student 22/03/2012 20:19
Gender in Orlando Amelia Jefferies Student 23/03/2012 12:39
“[W]ord symbols must be translated into images of things …” Amelia Jefferies Student How successfully does Sally Potter make the adaptation her own? 23/03/2012 12:39
The casting of Vita Sackville-West and Tilda Swinton in book and film 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. 24/03/2012 14:11
My Default Pathway Joe Guez Student 24/03/2012 18:10
Woolf and Film Lucy Bolton properties of film for working with Woolf 26/03/2012 13:31
My Default Pathway Lucy Bolton 26/03/2012 13:31
Adapting book to film: key scenes of Orlando Anna De Guia-Eriksson Student 26/03/2012 21:15
My Default Pathway Anna De Guia-Eriksson Student 26/03/2012 21:15
Gender and Androgyny within Orlando Anna De Guia-Eriksson Student 26/03/2012 21:59
Reflection on Orlando\'s intertextual reality Paul Numann Student Some explanations for Potter's decision on certain locations, set and costume design, and focusing on cinematography. 27/03/2012 14:39
My Default Pathway Daniela Vilu Student 28/03/2012 12:03
My Default Pathway Charles Tirella Student 28/03/2012 16:40
Dealing with Expressions of Emotions Kwasi Appiah Student Sally Potter constantly revises her portrayal of Orlando's emotions throughout the development of the film. This pathway displays the numerous changes she decides to make, in turn shaping the cinematic character of Orlando through his/her emotive mannerisms, and will decipher as to why Potter decides to implement these changes in the ways she does so. 29/03/2012 01:46
The Flow of Time Kwasi Appiah Student As Tilda Swinton says of Orlando in the Introduction of the 2012 edition: "Where I once assumed it was a book about eternal youth, I now see it as a book about growing up, about learning to live". Sally Potter's presentation of time movement and Swinton's portrayal of a maturing Orlando is crucial in capturing this element that, whilst not ageing, he/she is growing as a person; becoming wiser. 29/03/2012 01:22
The gender of Orlando Maria Moller Kjeldgaard Student 29/03/2012 12:11
My Default Pathway Richard Leigh Student 30/03/2012 01:20
The Great House Samuel Whyte Student The intertextual relationship between Woolf and Potter's imagining of Orlando through the location of Hatfield House. 29/03/2012 17:00
My Default Pathway Yaiza Tormo Coronado Student 29/03/2012 22:57
Pretty Pathway Richard Leigh Student 30/03/2012 01:20
The Idea of Gender as a Performance James Kruglinski Student Both Virginia Woolf and Sally Potter are interested in exploring the duality of gender through the story of Orlando. Is a person's sex something that is fixed? Are men and women really that different? Perhaps gender is not something that has already been predetermined. Rather, Woolf and Potter propose that it's an ideology “that has been reinforced by tradition, inheritance and convention”. Both the novel and the film use Orlando’s sex change as an opportunity to explore and discover the answer to this issue.
30/03/2012 03:07
My Default Pathway Kaitlyn Sunabe Student 30/03/2012 05:31
Alex Garbutt's pathway Alexander Garbutt Student A focus upon aspects from the stage of development as to discern the approach taken in adapting from novel to film. 30/03/2012 11:09
Intertextuality in Orlando Nicolas Segura Student 30/03/2012 15:02
My Default Pathway Clare Holden Professional 03/04/2012 11:41
Self-Reflexive Cinema Vicki Callahan examples from the film that serve as examples of self-reflexive cinema 04/04/2012 01:19
My Default Pathway Vicki Callahan 04/04/2012 01:19
The way in which Sally Potter intertextually represents the idea of gender through 'The Eternal Recurrence' found in the original novel, by way of visual expression. Maxwell Gutteridge Student The way in which Sally Potter intertextually represents the idea of gender through ' The Eternal Recurrence' found in the original novel, by way of visual expression. 09/04/2012 15:44
Emotions speak louder than words Jamie Pearsen Student In Orlando, there are many extremes of emotions that are witnessed and experienced. Throughout Orlando's life events and transformations, his / her emotions on screen help convey the internal feelings and thoughts behind the visual information. Orlando appears to exprience deep happiness in some moments, and deep melancholy in others. Overall, as Sally Potter stated in one of her assets I have included in my pathway, "The unifying principle is the force of the character of Orlando who propels us believably through time and history in the search for life and a love." 10/04/2012 13:52
Fluidity of Gender 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. 23/04/2012 17:19
Gestation in Orlando Kristen Bucaria Student These assets that I've linked together in this pathway show that the whole film is meant to be a gestation period until the end (the present) when Orlando and her child are born. Rather than showing actual birth though, Sally Potter decided to follow "BIRTH" with a story draft for a publisher to read. The draft in the film is presumably a culmination of the entire story of Orlando's life, that we just saw. We might think also about the film as (figuratively) Sally Potter's child, based on these findings. 15/04/2012 12:43
Orlando's Look Directly At The Camera 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. 15/04/2012 13:34
Significance of Sleep Melissa Fox Student Deep sleep shows up twice in Orlando. The first time, Orlando sleeps for days after Sascha leaves him. The second time, Orlando wakes up after a deep sleep and has transformed into a woman. What is the significance of sleep for Orlando? Does it symbolize rebirth when Orlando has begun a new stage in life? 15/04/2012 15:48
"Falling" In Love Madison Stevens Student Throughout the film, Sally Potter brings the audience\\\'s attention to moments when characters fall to their knees. On one hand, falling symbolizes the recurring theme of the pain of literally having fallen in and out of love, but It also represents the film\\\'s cyclical structure. Just as Orlando\\\'s immortal life is on an endless loop, humanity\\\'s need for love and the inevitability of suffering there in also exists on an endless and eternally recurring loop.

[[Read this pathway from the bottom up; the last asset to the one directly bellow this]]
15/04/2012 16:07
Necessity of Color Pallets within Orlando 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. 16/04/2012 11:10
Running in ORLANDO Sian Torp Student There are several points throughout the film when Orlando takes off running. It occurs several times at several different points in the film which caused me to raise suspicion... is there meaning behind the running scenes? Upon further analysis of each running scene I discovered that each is different; however, they all share similar elements. All of them seemingly occur after Orlando is upset by something, whether it be when the woman he loves rejects him, when the Archduke offends her, or during battle when she runs through the trenches. Orlando only runs when something is amiss in his/her life. The running scenes are also interesting because they are mostly shot with Orlando running away from the camera as if he/she is running away from the audience or his/her present circumstance. Additionally, all the running scenes occur outside, continuing the theme with nature. Finally, the film’s last scene shows Orlando's daughter running; however, she is running towards the camera, happily, rather unlike her mother who runs away from the camera when she is upset. 16/04/2012 19:58
Dance in Orlando Elizabeth Mattison Student I found that dance, like in many cultures, is an important exhibition of feeling in Orlando. I originally was intrigued by the Introduction page telling us that the story was a "dance through history". Exploring dance further led me to a tag called "dance", which held multiple call sheets outlining the importance of characters learning their dances. It also showed how important Orlando's emotions towards Sasha were in these scenes. It seems like Orlando's feelings are revealed through dancing. 17/04/2012 18:12
The Evolving Manuscript: From The Oak Tree to Death of A Lover Caitlin Falco Student After looking through multiple drafts of the script, I noticed that the title of Orlando\'s manuscript changes twice. It begins as \"The Oak Tree,\" but evolves into \"The Death of Hercules,\" and finally becomes \"Death of a Lover.\" What is the significance of each of these titles in relation to the film? Had Sally Potter kept one of the original titles, would we have drawn the same conclusions about the manuscript, and its relationship to other themes in the film? 23/04/2012 18:27
Nature, Colour, and Motivation Lindsay Hooper Student What are the implications of predetermined Powers and Colours motivating each character and setting? How do these attributes influence the film's aesthetic? 23/04/2012 12:20
Weather and Orlando Emily Blagdon Student Throughout the film, the weather and natural surroundings constantly change. While looking through the archive, I began to pick up on the different moods based on the different weather climates. Mourning, sadness, and negative images often appear while the weather is cold, snowy, and dark. When the weather is sunny and pleasant, there is more light hearted music in the background and the story line is on a more positive note. The weather in Orlando is not only a representation of the area in which the scene is meant to be set but it seems to also be used as an aid in creating a specific mood and tone for the audience to pick up on. 23/04/2012 18:54
Use of Children in Orlando Amy Atkins Student "Do not fade. Do not wither. Do not grow old." Is the message Queen Elizabeth I gives Orlando with the gift of eternal life and in researching the archives, I discovered that children are rather prevalent in the film. The film parallels the theme of eternal life with children as symbols of the beginning of life. 23/04/2012 22:34
Khiva Desert Music Kelli Bruno Student This pathway follows one musical cue from production to the finished film. Although it may go unnoticed, the music overlaps between two scenes and transitions from non-diegetic to diegetic. 23/04/2012 20:18
Gender in Orlando Julia Howard Student 23/04/2012 22:22
Searching for Clarify Through Mazes Simone Spira student Orlando is searching for the light at the end of the maze throughout the entire movie; the maze parallels to her life as she's constantly struggling with love, gender, sexuality, etc. However, at the end of the movie, after she's moved through time, she finds clarity with the angel who reveals herself between two branches, as if Orlando is finally emerging out the maze and into the light. 24/04/2012 00:00
My Default Pathway Jamie Pearsen Student 24/04/2012 15:51
Orlando and Dogs Alexander DeGiulio Student For Orlando, dogs represent a source of protection, comfort and companionship. Yet they also stand as a symbol of Orlando's obedience. Dogs play an important role in explaining Orlando's subservience to Queen Elizabeth and act as a form of protection against the cunning nature of Nick Greene. Yet, their most important function is one based around comfort and companionship. Two dogs lay by his side during the first endless sleep. A dog first welcomes her back to the estate after her absences. And more importantly, dogs continually stand by Orlando's side throughout the entire first half of the film. Dogs truly are a man's best friend. 24/04/2012 19:25
Voyeurism and the Camera's Point of View Heather Wakeman Student My pathway contains assets that explore the point of view of the camera and the placement of the camera as a voyeur. It evolved from a note that Sally Potter wrote on her shooting script: "The camera as a voyeur--behind something."

From this note, I decided to find other assets that highlight a voyeuristic placement of the camera and thus the audience. My assets range from the camera positioning in intimate scene to Potter describing her use of character address in her director's commentary.
24/04/2012 23:55
The importance of the bedroom in Orlando Heather Wilson Student I have found various assets which suggest that the bedroom represents a place of comfort, change, and re-birth for Orlando. During any significant lapse of time, when Orlando primarily addresses the camera, and when Orlando transforms from a male to a female he is in the Bedroom. The assets I have compiled demonstrate how this room is important based on the design of the bedroom and the various scenes that revolve around the bedroom. 25/04/2012 00:29
Orlando and Tilda Swinton exchanges Anna Husted Student Various views of Swinton's characters in the film Orlando. 01/05/2012 16:10
My Default Pathway Christine Gledhill Professor of Media & Cultural 03/05/2012 17:21
Adapting Orlando: From Word to World Aniya Das Student In writing Orlando, Virginia Woolf had to her disposal the infinite power of the English language. Using her imaginative flair for writing, Woolf was able to vividly describe and create the world in which Orlando lives; we are transported through time, and to incredible landscapes all across the globe with ease. Sally Potter then, had the largely more difficult task of physically recreating this diegetic world. Through this pathway I will explore the real life locations Potter used to create Orlando's world, and the reasons behind these choices. 03/02/2013 01:11
My Default Pathway Harveen Panesar Student 13/02/2013 17:28
\\\'I am rooted, but I flow\\\' -Conceptions of time and the conveyance of inner life in \\\'Orlando\\\' Maire Connor Student The central impulse of this pathway is to provide a conduit through which one may explore how the passing of time is expressed within Sally Potter's 1992 film 'Orlando', as a prominent theme of both the original novel and film. Furthermore, in acknowledgement of the disparities between the manner in which a visual medium and a written work respectively convey meaning, one is also drawn to the cinematic techniques utilised to communicate the eponymous hero/ine's inner thoughts, feelings and frustrations. The titular quotation, lifted from another of Woolf's novels, 'The Waves' is appropriated here to reflect upon the process of adaptation, particularly the ever-mutating, palimpsestic nature of a text (Woolf 2005: 86). 03/03/2013 00:13
My Default Pathway Robin Walmsley Reynolds Student 28/03/2013 04:05
Adapting Orlando Alejandro Fernandez Moreno Student 06/03/2013 18:43
Only Connect Charles Drazin The purpose of this pathway is to 'reflect upon and illustrate' the process of adapting Orlando. 07/03/2013 13:37
Orlando from Novel to Film Rea Anastasopoulou Student Pathway to reflect upon and illustrate the process of adapting Virginia Woolf’s 1928 novel, Orlando, to film. 13/03/2013 15:46
Orlando Matous Sedlak Student 14/03/2013 15:18
My Default Pathway Joel Nazar-Zadeh Student 18/03/2013 22:23
The Transition from Novel to Film Emma Hancock-Taylor Student 19/03/2013 12:38
My Default Pathway Nicole Moir Student 19/03/2013 13:35
Fluidity of Gender. Suzanne Harris Student Looking at the adaptations of gender ideas from Woolf's novel to Sally Potter's film. 22/03/2013 12:32
My Default Pathway Celso Castro Student 22/03/2013 18:34
Gender and Sexuality in Orlando Melanie Allickson Student 22/03/2013 23:23
Gender/Androgyny in Orlando Joanna Sidorick Student 23/03/2013 20:29
Editing and Transitions Marion Walker Student Examining the piecing together and connecting of a narrative through the shift from novel to film. 24/03/2013 21:48
The Adaptation Process Nida Sheriff Student What is lost and what is gained? 25/03/2013 15:18
The essence of design in adaptation 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. 25/03/2013 17:38
Cinematography and Shot Analysis in Orlando Jake Stickley Student An analysis of the relationship between the detailed and highly illustrative description within the original text and the shot choices and cinematography of the film adaptation. The approach of this pathway will be to seek connections between the various texts available to form a progressive train of thought, concluding with an assessment of the success of the translation of Woolf's work to the screen. 25/03/2013 17:48
The Literary Process of Adaptation Emma Lieberman Student In a novel-to-film adaptation, one of the most interesting things to do is look at the source novel and see how it differs from the screenplay. Film is a visual medium, making it very different from the literary medium of the novel, but the adapted screenplay is like the bridge between the two, and can show the most striking resemblances and differences between the two versions of the story. 25/03/2013 18:11
Representations Of Gender in Orlando. Nicholas Subramaniam Student Exploring the representation of gender, through character, actors and costume in the adaptations of Orlando. 26/03/2013 11:16
Modernizing Orlando. Jessica Rehkopf Student 26/03/2013 12:07
Adapting Orlando through the words of Sally Potter Gaia Porcu Student 26/03/2013 12:44
Narrative Voice in Orlando Harriet Taberner Student Initially, Sally Potter had the narrative of Orlando living each moment as the present. For instance Orlando in 1592, tells the story as if it were 1592; the Orlando in 1700 tells the story as if it were 1700, etc. However, later this changed and bore more resemblance to Virginia Woolf's prose. The film took on the structure of memories, the present being 1992. Therefore, the narrative of the film did not alter with the aging/ developing of character. The narrator of the film is the female mother Orlando, and thereby tone and language differs from the language of a young boy. In the part of "Death" we can see many differences between Potter's shooting script and the finalized version in her process of adapting Virginia Woolf's novel "Orlando". 26/03/2013 15:21
Reading between the stitches: Showing social status through costume in Orlando 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. 26/03/2013 21:34
My Default Pathway Joshua Thorpe Student 27/03/2013 03:49
My Default Pathway Billie Hawes Student 27/03/2013 15:52
My Default Pathway Clara Garcia Gomez Student 27/03/2013 19:04
How is mise en scène used in Orlando to portray gender and social status? Ray Barron Student 27/03/2013 20:12
My Default Pathway Melanie Allickson Student 27/03/2013 23:37
My Default Pathway Robbie Laing Student 28/03/2013 12:13
My Default Pathway Jasmine Ye Student 28/03/2013 15:49
My Default Pathway Emam Awad Student 10/04/2013 21:14
My Default Pathway Karolina Obrecka Student 12/04/2013 01:18
About the Location Peng Zhang MA Student 15/04/2013 18:12
My Default Pathway Rochelle Miller MA Student 16/04/2013 21:32
My Default Pathway Aaron Rich MA Student 25/04/2013 17:12
The Sound of Orlando (Rochelle Miller, Panpan Yang, Jon Lisi and Peng Zhang) Panpan Yang MA Student 27/04/2013 01:38
The Royal Pathway Emily Nabasny MA Student 27/04/2013 22:10
My Default Pathway Siyun Fu MA Student 28/04/2013 02:06
My Default Pathway Peter Sutton MA Student 28/04/2013 02:27
My Default Pathway Peter Sutton MA Student 28/04/2013 02:38
My Default Pathway Meghan Longo MA Student 28/04/2013 04:35
Costume and Orlando's Identity Jared Eisenstat MA Student 28/04/2013 23:40
My Default Pathway Nina Salazer MA Student 29/04/2013 05:36
The Concept of Gender in the Film Orlando Tara Campbell MA Student 29/04/2013 01:48
Gender, Style, Tilda Swinton Carolyn Reese MA Student 29/04/2013 16:43
My Default Pathway Jazmine Herron MA Student 29/04/2013 19:33
The Fluidity of Voice: Changing Gender Expectations Through Song Carrie Barnhouse MA Student This pathway traces the use of the falsetto in Orlando as a symbol of transformation/alteration in gendered meanings through its position as herald throughout the narrative. The voice acts as construct for the subsequent reversal of bodily gender norms. It highlights periods of transition or translation for Orlando. 29/04/2013 20:32
My Default Pathway Christine Gledhill Professor of Media & Cultural 29/04/2013 20:58
Orlando in the East Christine Gledhill Professor of Media & Cultural This pathway is interested in role of the East in Orlando's journey 29/04/2013 20:58
Costumes in Orlando Andrea Paul MA Student Role transformation reflected through costumes 29/04/2013 21:22
My Default Pathway David Bonaroti MA Student 29/04/2013 21:32
EDITED: Costumes in Orlando Andrea Paul MA Student 30/04/2013 04:23
the earring in ORLANDO Xin Zhou MA Student 30/04/2013 06:03
My Default Pathway Ekaterina Lysenko Student 04/06/2013 15:41
sounds like Orlando Louise Fryer Student sound effects and music 19/06/2013 15:29
Getting the Film made Samuel Cross Student An analysis of the pragmatics of getting Orlando made. 19/06/2013 15:32
My Default Pathway Marina Fuser Student 19/06/2013 15:32
Singing Angel - Final Scene Julie Solovyeva Student 19/06/2013 15:33
john's comment Sarah Atkinson Media Academic King James looks down through the ice to see the young woman (and her apples) frozen beneath. The view of her is being slowly covered by the falling snow. James is amused by this image. The King looks down on the world from the point of view of the absolute monarch with divine right. The young woman is of no account either as a subject or as a female. And yet her beauty is not obscured (initially) - only by his gaze which also 'freezes' her. The apples (fruit) are also frozen. The king's gaze is reiforced by those of the gaggle of (male) courtiers.
The images combines beauty, life, fruitfulness and horror, coldness and death (male). This 'maleness' is at an extreme. Potter uses subjective shots: The King looks down on the frozen woman. The woman looks up at the goggling king.
19/06/2013 15:39
Questions about Sally Potter's Orlando Kamonrat Sriharuksa Student a collection of questions I have after watching Orlando 19/06/2013 15:42
My Default Pathway Amir Elmi Keshtiban Student 19/06/2013 15:47
My Default Pathway Louise Fryer Student 19/06/2013 15:47
trees Louise Fryer Student trees 19/06/2013 15:47
My Default Pathway Louise Fryer Student 19/06/2013 15:48
My Default Pathway Louise Fryer Student 19/06/2013 15:48
Funding Process Julie Solovyeva Student 19/06/2013 15:48
My Default Pathway Sarah Atkinson Media Academic 19/06/2013 15:49
Reflexivity Holly Gilbert Student 19/06/2013 15:51
My Default Pathway Christopher Sheppard Producer 28/06/2013 16:11
My Default Pathway Charles Drazin 30/01/2014 16:49
My Default Pathway Emily Eyre Student 03/02/2014 22:55
Different Medium, Same Story Sydney Greve Student 09/02/2014 20:33
The High Road Marc De'ath Technologist 18/02/2014 09:34
My Default Pathway Jai Choi Student 24/04/2014 21:07
Orlando's Direct Address 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. 25/04/2014 02:15
My Default Pathway Karl McCool Student 25/04/2014 22:47
My Default Pathway Marissa Hicks-Alcaraz Student 26/04/2014 02:16
My Default Pathway Carmel Curtis Student 27/04/2014 18:02
The female and the other Easmanie Michel Student The female consciousness throughout the film. Orlando supports the poet because of his otherness 29/04/2014 17:07
Orlando is a woman? Easmanie Michel Student The stillness and restrictions that happen cinematically upon Orlando's gender transformation. 29/04/2014 17:07
My Default Pathway Jasmyn Castro Student 28/04/2014 23:49
My Default Pathway Martha Diaz Student 29/04/2014 02:20
FH&H Martha Diaz Student 29/04/2014 03:05
My Default Pathway Genevieve Havemeyer-King Student 29/04/2014 16:25
Narrative & Identity Genevieve Havemeyer-King Student Concept & contextualization: Potter's exploration of identity and self-narrative through a multiplicity of histories.
29/04/2014 16:26
Potter-Elizabeth-Crisp Ethan Gates Student 29/04/2014 19:28
Can't die Harry McDowell Student 29/04/2014 20:57
My Default Pathway Karl McCool Student 29/04/2014 23:10
My Default Pathway Karl McCool Student 29/04/2014 23:10
My Default Pathway Karl McCool Student 29/04/2014 23:10
My Default Pathway Karl McCool Student 29/04/2014 23:10
My Default Pathway Karl McCool Student 29/04/2014 23:10
Crisp's pathway through gender Karl McCool Student 29/04/2014 23:11
My Default Pathway Sarah Atkinson Media Academic 31/10/2014 14:11
My Default Pathway Viktoria Zora CHASE PhD student 31/10/2014 14:17
Pitch and Budgeting at the Development stage Viktoria Zora CHASE PhD student 31/10/2014 14:17
My Default Pathway Eirini Anomeritaki CHASE PhD student Orlando's Transformation-novel 31/10/2014 14:18
My Default Pathway Eirini Anomeritaki CHASE PhD student 31/10/2014 14:19
My Default Pathway Elenamaria Dirstaru CHASE PhD student 31/10/2014 14:19
My Default Pathway Elenamaria Dirstaru CHASE PhD student 31/10/2014 14:19
My Default Pathway Elenamaria Dirstaru CHASE PhD student 31/10/2014 14:19
My Default Pathway Elenamaria Dirstaru CHASE PhD student 31/10/2014 14:20