Sally Potter's "Orlando" and the Neo-Baroque Scopic Regime
Bibliographic Data
| ID | 8905330 |
|---|---|
| Authors | Cristina Degli-Esposti (corresponding author) |
| Year | 1996 |
| Volume | 36 |
| Issue | 1 |
| Pages | 75-75 |
| Publication date | 1996-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Cinema Journal (JOURNAL) |
| Journal identifiers | ISSN: 0009-7101 • E-ISSN: 1527-2087 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/1225596 |
| OpenAlex | W2330116982 |
| Language | EN |
| Citations received | 3 |
Freely adapted from Virginia Woolf's novel Orlando: A Biography (1928),2 Sally Potter's Orlando (1992)3 offers a postmodern/neo-baroque rereading of a transhistorical story where freedom of imagination combines with the memory system of our history of ideas. With an abundance of figural representation, Potter's film falls into a particular kind of cinema of excess. It creates a space where postmodern manneristic representation becomes neo-baroque
Art · Art history · Baroque · Biography · Linguistics · Literature · Movie theater · Politics · Postmodernism · Representation (politics · Space (punctuation) · Cinema and Media Studies · Contemporary Literature and Criticism · Philosophy · Shakespeare, Adaptation, and Literary Criticism
| Citations per year | 0.16 |
|---|---|
| Citation span | 2007 - 2020 (14) |
| Highly cited | No |