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dc.contributor.authorRegis, Amber K.*
dc.contributor.authorWynne, Deborah*
dc.date.accessioned2015-01-14T11:30:15Z
dc.date.available2015-01-14T11:30:15Z
dc.date.issued2012-12
dc.identifier.citationNeo-Victorian Studies, 2012, 5(2), pp. 35-58en
dc.identifier.issn1757-9481
dc.identifier.urihttp://hdl.handle.net/10034/338229
dc.descriptionThis article was published in Neo-Victorian Studies© 2012.en
dc.description.abstractThis essay focuses on the neo-Victorian materialisation of Dickens’s vision through the costuming of the Miss Havisham figure in three film adaptations of Great Expectations: David Lean’s Great Expectations (1946), Billy Wilder’s Sunset Boulevard (1950), and Alfonso Cuarón’s Great Expectations (1998), a modern updating. The distinct film language which emerges from the costume designs in each of these films enables cinema audiences to re-read and re-imagine the novel’s portrayal of perverse and uncanny femininity. As a result, the disturbing and enduring ambiguity of Havisham’s clothing establishes her as a figure of resistance to modernity, and as an embodiment of decline, signalling youth and age by means of a robe which is at once wedding gown, unfashionable garment and shroud.
dc.language.isoenen
dc.relation.urlhttp://www.neovictorianstudies.comen
dc.relation.urlhttp://www.neovictorianstudies.com/past_issues/5-2%202012/NVS%205-2-3%20A-Regis%20+%20D-Wynne.pdfen
dc.subjectageingen
dc.subjectcostumeen
dc.subjectCharles Dickensen
dc.subjectGreat Expectationsen
dc.subjectfashionen
dc.subjectfilm adaptationen
dc.titleMiss Havisham’s dress: Materialising Dickens in film adaptations of Great Expectationsen
dc.typeArticleen
dc.contributor.departmentUniversity of Sheffield ; University of Chesteren
dc.identifier.journalNeo-Victorian Studiesen
refterms.dateFOA2018-08-14T01:20:10Z
html.description.abstractThis essay focuses on the neo-Victorian materialisation of Dickens’s vision through the costuming of the Miss Havisham figure in three film adaptations of Great Expectations: David Lean’s Great Expectations (1946), Billy Wilder’s Sunset Boulevard (1950), and Alfonso Cuarón’s Great Expectations (1998), a modern updating. The distinct film language which emerges from the costume designs in each of these films enables cinema audiences to re-read and re-imagine the novel’s portrayal of perverse and uncanny femininity. As a result, the disturbing and enduring ambiguity of Havisham’s clothing establishes her as a figure of resistance to modernity, and as an embodiment of decline, signalling youth and age by means of a robe which is at once wedding gown, unfashionable garment and shroud.


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