Pathway: 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.

Black and white A4 computer printed, Paper, Revised draft of screenplay

Could be useful to look at the different ways in which we are introduced to Orlando, Potter does not stick to the novel entirely. Is one or the othe better? Can one be better than the other? Matter of opinion, how important is fidelity and how much artisitic licence can we allow Potter whilst she is dealing with such an important novelist?

Black and white A4 Text Document, Digital, Finished screenplay as published by Faber and Faber

Watercolour mounted on black card, with b/w photocopy, Paper, Painting of tents on frozen Thames

It seems important to look at these sketches in order to understand the process by which Potter lifts the images she imagines whilst reading the novel from the page onto the screen. Essential aspect of adaptation from novel to film- visual translation.

A4 pages, Paper, Typed notes on Virginia Woolf's ideas about the future for women

I think these notes are particularly important when it comes to considering the ways in which Potter might have attempted to make 'Orlando' a more approachable story for a contemporary and also how she ended her film version of the story in the 1990s.

A4 pages, Paper, Typed notes on Virginia Woolf's ideas about the future for women

A4 pages, Paper, Typed notes on Virginia Woolf's ideas about the future for women

Watermarked paper, handwritten, with wax seal, Paper, [front] Letter from artist Christopher Hobbs concerning his set paintings for

Looked at the address, he was living on the street next to mine, wonder if he's still there!

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - Queen Elizabeth I (Quentin Crisp) in the film

Interesting casting here, with a man playing a woman, also important when considering intertextuality as there have been many portrayals of queen elizabeth in film, art and literature. Although, I am not sure how many men have played her!

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 14 - (Tilda Swinton) and Sasha (Charlotte Valandrey) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 38 - (Tilda Swinton) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 53 - (Tilda Swinton) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 54 - (Tilda Swinton) and Shelmerdine (Billy Zane) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 63 - (Tilda Swinton) and 's Daughter (Jessica Swinton) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 48 - (Tilda Swinton) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 61 - (Tilda Swinton) and Publisher (Heathcote Williams) in the film

Orlando Daily Progress Report No.51, Black and white A4 computer printed, Paper

A4 pages, Paper, Typed notes on Virginia Woolf's ideas about the future for women

1 x colour slide in transparent plastic hanging sheet, Digital, Behind the Scenes Images - Alexei Rodionov (Director of Photography) and Sally Potter on location for Scene 36