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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 Amelia Jefferies Student 02/02/2012 16:44
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