Looking at the presence of Virginia Woolf\'s novel Orlando in Potter\'s cinematic adaptation, thinking particularly about ideas of haunting and ghosting.
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.
This pathway will explore, primarily through images of Swinton as Orlando (although the accompanying essay will recognise this casting to be about more than appearance), aspects of star intertextuality in Potter\'s 1992 film of Woolf\'s 1928 \'biography\'; that is, what the actress adds to the eponymous character in the process of adaptation, as a result of her star persona.
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.
Role transformation reflected through costumes
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