The soundtrack of Orlando as a microcosm of Potter’s filmic adaptation.

• Anastácio, Sílvia Maria Guerra ^[1]
  1. [1] Universidade Federal da Bahia

     Universidade Federal da Bahia

     Brasil

     
• Localización: Cadernos de tradução, ISSN-e 2175-7968, ISSN 1414-526X, Vol. 2, Nº. 16, 2005, págs. 221-229
• Idioma: inglés
• Enlaces
  • Texto completo (pdf)
• Resumen

  • This study analyses the soundtrack of the film Orlando (1992), directed by Sally Potter, a recreation of the novel by the same title, written by Virginia Woolf (1928). Despite the fact that Potter and Woolf have lived in different times, both focused on matters of gender and, each in her own way, challenged the hegemonic power, denouncing the role of women as marginal and silent figures in a repressive patriarchal society. The soundtrack of Orlando can be viewed as a microcosm of the film, where the androgynous angel, who sings the Coming song, might be suggesting a conflict between opposing forces embodied by its hybrid character.