This essay focuses on the neo-Victorian materialisation of Dickens’s vision through theudcostuming of the Miss Havisham figure in three film adaptations of Great Expectations:udDavid Lean’s Great Expectations (1946), Billy Wilder’s Sunset Boulevard (1950), andudAlfonso Cuarón’s Great Expectations (1998), a modern updating. The distinct filmudlanguage which emerges from the costume designs in each of these films enables cinemaudaudiences to re-read and re-imagine the novel’s portrayal of perverse and uncannyudfemininity. As a result, the disturbing and enduring ambiguity of Havisham’s clothingudestablishes her as a figure of resistance to modernity, and as an embodiment of decline,udsignalling youth and age by means of a robe which is at once wedding gown, unfashionableudgarment and shroud.
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机译：本文着重论述了狄更斯的新维多利亚时代的形象，通过哈维森小姐的形象在 u u u u u u u u u u u u u u u下改编的电影的大期望： ud戴维·利安的《大期望》（1946），比利·怀尔德的《日落大道》（1950）和 ud阿方索·库隆的大期望（1998年），现代更新。从每部电影的服装设计中脱颖而出的独特的电影语言，使电影受众可以重新阅读和重新想象小说对不正当和怪诞女性化的刻画。结果，哈维舍姆衣着的令人不安和持久的歧义使她成为抵抗现代性的象征，并作为衰落的体现，通过一件既是婚纱的长袍，不合时宜的衣服来代表年轻人和年龄。和裹尸布。
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