Pathway: Gender and Androgyny within Orlando by Anna De Guia-Eriksson

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

directly addressing audience

Close up of Orlando speaking, face to camera, whilst resting against the trunk of the tree

introduction of orlando: directly addressing audience allows the audience to feel as though the film is solely for their benefit. Orlando and the viewer share an intimate relationship. This also allows for a repoire/identification of orlando to be established, one that is repeated in several scenes. Orlando and his/her character is identified by it.

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 3 - Queen Elizabeth I (Quentin Crisp) in the film

Casting: androgyny extends to casting: Quentin crisp as queen elizabeth unsures the fluidity of the theme of androgyny.

close up of Orlando's face as she sees her reflection in mirror

change: orlando the man to orlando the woman

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 58 - (Tilda Swinton) and Shelmerdine (Billy Zane) in the film

androgyny and gender: orlando and shelmerdine as androgynous partners for each other. the physicality of the actors aide in the blurring of the lines of sex, who is woman and who is man.

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

summary of orlando the film by sally potter: illustrates the central role gender/sex plays in the film/novel

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

androgyny continued

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

sexual identity and androgyny

Page 109 of revised draft script for Orlando. Black printed text on A4 paper bound with a plastic comb spine

Page 109 of revised draft script for Orlando. Black printed text on A4 paper bound with a plastic comb spine

Orlando: androgyny of costume

Page 5 of general notes on Orlando, black printed text on A4 paper

the self in relation to exteriors/interiors and landscapes. How they vary according to gender, reflecting the various pressures/allowances each gender is yolked with. That difference must come across.
Underlying female consciousness throughout.

Page 3 of general notes on Orlando, black printed text on A4 paper

Thoughts on the voice over: if it should represent orlando as both female and male (to be included at the beginning and end of film, or only when she is a woman. Potter convinced that whole book is written with a 'female' consciousness. interesting regarding the novel's and film's deconstruction on gender, what is female/male.

Page 2 of general notes on Orlando, black printed text on A4 paper

time and time travel: the pace of the film and the shifts in time.

Page 7 of handwritten notes and ideas on Orlando written in pencil on a loose leaf of A4 lined paper

Orlando's difficulties as a woman: the social conventions of the victorian age and what this means for orlando the woman.

Page 2 of early developmental handwritten notes and ideas by Sally Potter on Orlando, black pen on A4 lined paper in pad

Gender and Orlando: Potter's understanding of orlando and gender as well as cinema's ability to depict these ambiguous images of orlando as man/woman

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 25 - (Tilda Swinton) in the film

Orlando as man.

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - (Tilda Swinton) in the film

Orlando/Swinton as man. Costume and stance/facial expression are utilized in order to confuse the viewer and present Orlando/Swinton as man.

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

Orlando: a man, description of him as boyish athletic. fine legs.