It also explores the complex nature of cultural interpretations that emerge when roles change with emphasis on Orlando’s sudden transformation in the movie.
Sally Potter’s film Orlando is a brilliant cinematic production that articulates several issues especially from a gender context as noted by Judith Butler, a cultural theorist in her essay. The film is set in the Elizabethan Age prior to Queen’s death. However, the Queen is keen to bequeath a young nobleman called Orlando a piece of land as gift to erect a castle for himself. Gender echoes significantly as observed by Butler in terms it being constituted over a certain period (Butler 519). In other words, gender is usually affirmed as a distinct identity institutionalized via repeated acts as displayed by Lady Orlando after discovering the shacking sex transformation of her husband, Orlando. It is a complex manifestation fuelled by language as the medium of communication in comprehending movements, gestures, and enactments of being. Accordingly, while Potter’s film casts the central characters as persevering against the backdrop of lawsuits especially in the patriarchal era, the prospects of triumph are encouraging. Similarly, Lady Orlando’ lack of powers in matters concerning land rights is an epitome of identity crisis that usually afflicts societies such as the one depicted in the film. Overall, gender transformation expands possibilities for the social audience concerned with the fate and destiny of characters that include Princess Sasha, Clorinda, Favilla, and Euphrosyne.
Another interesting issue emerging from the movie is tied to Butler’s assertion that the conception of gender identity is a belief inspired by appearance. In Orlando, for illustration, the clash of gender and historical situations such as the passing of Queen Elizabeth I displays the comfort in leadership that inspired Lady Orlando and her husband before his gender