Abstract
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.
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