영화 속 이중적 성정체성을 표현한 의상 디자인 요소 분석 –영화 <패왕별희>와 <M.Butterfly>를 중심으로-

As contemporary society undergoes rapid change, perceptions of gender have become increasingly diverse, and clothing has emerged as a significant means of expressing personal identity and emotion. This study examines how costume functions in shaping and expressing identity by focusing on the dual gender identities of the protagonists in the films Farewell My Concubine and M.Butterfly. The research employs literature review, visual material comparison, and case analysis, drawing on prior studies related to gender, dress, and film, while organizing the historical background and costume styles of both works. Representative scenes were selected and analyzed according to four categories: the coexistence of dual gender traits, functional differences in costume, shifts in costume in relation to psychological change, and the cultural and gendered symbolism embedded in specific costume elements.The analysis shows that gender perception is materialized through costume expression, and the balance between inner identity and external appearance plays an important role in shaping the self. In Farewell My Concubine, Cheng Dieyi uses costume as a medium of self-expression, revealing intertwined masculine and feminine qualities, whereas in M.Butterfly, Song Liling adopts feminine costume as a strategy of social disguise, gradually approaching a state of gender neutrality. Although both characters’ costumes visually articulate their identities, Cheng’s attire serves to externalize his inner gender, while Song Liling’s functions as a device to conceal and perform a socially constructed gender role. Changes between masculine and feminine attire are strategically placed at narrative climaxes, revealing emotional conflict and psychological tension. Costume elements such as manicured nails, fans, gua garments, rings, traditional undergarments, and lace lingerie serve as symbolic indicators of gender and culture, illustrating how the characters move between reality and performance, and between masculine and feminine states. Through comparative analysis, this study demonstrates how costume constructs and exposes gender identity through performativity and external expression, and identifies points at which film costume design intersects with contemporary discourses on gender identity. These findings provide a theoretical foundation for future research that bridges gender studies and fashion design.