Orlando's Sister, Or Sally Potter Does Virginia Woolf in a Voice of Her Own
The recent proliferation of film adaptations from novels written by women reflects the concern of female filmmakers for capturing women's voices on film. A focus on Potter's claims of fidelity to Woolf's authorial voice in Orlando dismantles the interpretive predispositions Potter evi...
| Veröffentlicht in: | Style. - Pennsylvania State University Press, 1967. - 35(2001), 2, Seite 237-256 |
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| Format: | Online-Aufsatz |
| Veröffentlicht: |
2001
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| Zugriff auf das übergeordnete Werk: | Style |
| Schlagworte: | Behavioral sciences Social sciences Philosophy Arts Biological sciences |
| Zusammenfassung: | The recent proliferation of film adaptations from novels written by women reflects the concern of female filmmakers for capturing women's voices on film. A focus on Potter's claims of fidelity to Woolf's authorial voice in Orlando dismantles the interpretive predispositions Potter evidences in her depiction of key scenes and concepts in the novel. In particular, the post-feminist utopian vision Potter puts forth at the film's end relies heavily on her conviction that she has captured the novel's authorial "essence," especially as she identifies it in Woolf's depiction of androgyny. But Potter's filmic conclusions seem oddly discordant with the critique of patriarchal power and sites of lesbian resistance Woolf constructs in her novel. This examination of Potter's film does not claim an inherent superiority in the literary source, as has so frequently been done in past studies of adaptation, but explores the voice the film itself constructs in relation to its source text. |
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| ISSN: | 23746629 |