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- Jane Weinstock: "She Who Laughs First Laughs Last (Thriller
by Sally Potter)." In: Camera Obscura No.5 (1980), pp.100-109
- Cristina Degli-Esposti: "Sally Potter´s Orlando
and the Neo-Baroque Scopic Regime." In: Cinema Journal 36:1
(1996), pp.75-93
- Anikó Imre: "Twin Pleasures of Feminism: Orlando
Meets My Twentieth Century." In: Camera Obscura
No.54 (2003), pp.177-210
- Kathryn Conner Bennett: "The Gender Politics of Death:
Three Formulations of La Bohème in Contemporary
Cinema." In: Journal of Popular Film & TV 32:3 (2004),
pp.110-120 (a.o. on Thriller)
- Lucy Fischer: "»Dancing through the Minefield«:
Passion, Pedagogy, Politics, and Production in The Tango Lesson."
In: Cinema Journal 43:3 (2004), pp.42-58
- Elena del Rio: "Rethinking Feminist Film Theory: Counter-Narcissistic
Performance in Sally Potter's Thriller." In: Quarterly
Review of Film and Video 21:1 (2004), pp.11-24
- Julianne Pidduck: "Travels with Sally Potter's Orlando:
Gender, Narrative, Movement." In: J.F.Codell (Ed.): Genre,
Gender, Race, and World Cinema. Malden/MA: Blackwell, 2006
- Ulrike Vollmer: "Sally Potter: The Tango Lesson."
In: U.V.: Seeing Film and Reading Feminist Theology, New York:
Palgrave, 2007
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© 2000 – 2008 by Daniel
Kälberer — Last Update: 9.1.2008
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