Pathway: Costumes in Orlando by Andrea Paul
Role transformation reflected through costumes
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
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
clothes changing with the decades
overhead shot of Orlando discarding wig
Shedding outer male "layer" ... still the same on the inside
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
"Swinton/Orlando as female - these photos demonstrate the part that costume plays in indicating both Orlando's gender and the time period. As Woolf herself points out, a satisfactory metal image of visual reality can be constructed by just a few, carefully chosen written words, but a visual image requires full explanation. The film viewer has time to gaze at and take pleasure in a scene, much of which may be left unspecified in writing. Equally, literature is able to convey meaning in ways that the visual image cannot, and so a filmmaker must find other ways to signify equivalent ideas."
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
"Swinton/Orlando as male - Potter recognised the importance of Orlando's effective androgyny; the character/actor had to be believable as both genders but more specifically, the audience had to be able to relate to the character on a purely human level in a way which transcended the status of Orlando's physical gender. This transition was something Woolf was able to impliment fairly seamlessly because the visual indications of gender are not (or at least certainly do not NEED to be) repeatedly confirmed in a literary work, but Potter's Orlando is always physically visible to the audience and so Swinton's performance and her costume were of vital importance in delivering the concepts surrounding gender in the film."
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
attention to visual detail and feeling of the clothes
Black and white A4 Text Document, Digital, Finished screenplay as published by Faber and Faber
"Wears the clothes of a young Elizabethan man"
Black and white A4 Text Document, Digital, Finished screenplay as published by Faber and Faber
Describing he scene of getting dressed as a women: DISCOVERING
close up of Orlando being dressed by servants, she observes herself in mirror.
Getting dressed as a woman, observing herself in the mirror
Black and white A4 computer printed, Paper, Revised draft of screenplay
Haphazardly putting on clothes as a male in comparison to scene with the corsette
Page 81 of second draft script for Orlando. Black printed text with pencil annotations on A4 paper bound with a plastic comb spine.
Page 81 of second draft script for Orlando. Black printed text with pencil annotations on A4 paper bound with a plastic comb spine.
Androgynous trousers after turning female
Orlando’s Costumes by Scene page 2, Black and white A4 computer printed, Paper
Costumes by scenes continued
Costume requirements for frozen river scene. Hand written on A4 page.
Costumes: Frozen River Scenes continued
Costumes for frozen river scene. Hand written A4 sheet.
Costumes: Frozen River Scenes
Page 3 of Orlando's costumes by location. Typed A4 sheet.
Costumes by loaction continued
Orlando’s Costumes by Location page 2, Black and white A4 computer printed, Paper
Costumes by Location
1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 62 - (Tilda Swinton) and 's Daughter (Jessica Swinton) in the film
Androgynous in the end
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 49 - (Tilda Swinton) in the film
clip: moving in this is restricted and difficult
1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 46 - (Tilda Swinton) in the film
1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 45 - (Tilda Swinton) and Twins, 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 14 - (Tilda Swinton) and Sasha (Charlotte Valandrey) in the film
Tilda as male
A4 colour printout picture on paper of Orlando leaning against oak tree writing
Tilda Swinton as a man
Page 1 of Orlando's costumes by location. Typed A4 sheet.
Costumes by location
Orlando’s Costumes by Scene page 1, Black and white A4 computer printed, Paper
Costumes scenes 1-36
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
Submissively adopted restricting women's clothing
Video file, Digital, Selected Scene Commentary by Sally Potter
"an imagined essence... from each period and blowing it up" "restricting the color palette in each era" (in terms of design and costuming
1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 25 - (Tilda Swinton) in the film
Orlando as a man
Page 109 of revised draft script for Orlando. Black printed text on A4 paper bound with a plastic comb spine
Androgyny in costumes
Page 2 of early developmental handwritten notes and ideas by Sally Potter on Orlando, black pen on A4 lined paper in pad
This page of Sally Potter's notes doesn't focus on the idea of gender specifically, but it does demonstrate why she thought Orlando the novel had the potential to transfer well to the screen. Because it 'tells through images which distill and condense a wealth of information'. Potter felt that Woolf's book was already almost cinematic in the way it portrayed meaningful, poetic images.