Used in pathways:

Quentin Crisp by Carolina Gonzalez ,

Pictures and mentions of the actor

orlando by Georgia Beverton,

Orlando and intertextuality by Sam O'Sullivan,

Exploring the intertextual nature of Sally Potter\'s Orlando

Orlando by Tasha Loch,

Exploring the intertextual nature of Sally Potter's film, 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 Sarah Fivash,

Intertextuality in Orlando: gender fluidity and the re-shaping/accentuasion of themes and essence.

Orlando: Book to Movie by 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

Potter and Woolf by Ada Teistung,

Intertextuality in, and adaptation of Orlando.

CD, SP-ARK, NFT1 by 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.

Orlando the novel to Orlando the film: Intertextuality and gender by 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.

“[W]ord symbols must be translated into images of things …” by Amelia Jefferies, Student

How successfully does Sally Potter make the adaptation her own?

Gender in Orlando by Amelia Jefferies, Student

Pretty Pathway by Richard Leigh, Student

The Idea of Gender as a Performance by 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.

CD, SP-ARK, NFT1 by 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.

My Default Pathway by Nicole Moir, Student

My Default Pathway by Celso Castro, Student

The Royal Pathway by Emily Nabasny, MA Student

The Concept of Gender in the Film Orlando by Tara Campbell, MA Student

My Default Pathway by Meghan Longo, MA Student

My Default Pathway by Emily Eyre, Student

My Default Pathway by Karl McCool, Student

Potter-Elizabeth-Crisp by Ethan Gates, Student

My Default Pathway by Jasmyn Castro, Student

My Default Pathway by Karl McCool, Student

My Default Pathway by Karl McCool, Student

Crisp's pathway through gender by Karl McCool, Student

Description Video file, Digital, Screen Test - Quentin Crisp reading Elizabeth I
Asset ID SPA0000279
Date 1991
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