영화 <대니쉬 걸>의 조명 분석
Lighting Analysis of <The Danish Girl>
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초록
본 연구는 톰 후퍼 감독의 영화 〈대니쉬 걸〉(2015)에 나타나는 조명 미학과 정동적 표현이 트랜스젠더 정체성의 형성과 승인 과정을 어떻게 구성하는지 탐구한다. 본 분석은 차가운 확산광, 측면광(side-lighting), 백색역광, 자연광의 부드러운 확산 등 네 가지 조명 전략에 주목하며, 이러한 빛의 구조가 서사를 넘어서 인물의감정·몸·공간을 조직하는 정동적 장치로 작동함을 밝힌다. 특히 빛이 인물의 심리 상태를 묘사하는 수준을 넘어, ‘존재 가능성’과 ‘정체성의 방향성’을 결정하는 서사적·철학적 매개로 기능한다는 점을 밝힌다.
Abstract
This study examines the affective aesthetics of lighting in The Danish Girl (2015), focusing on how light constructs, mediates, and transforms transgender subjectivity. Rather than functioning as a mere technical tool, lighting in the film operates as a dynamic affective environment in which identity is sensed, reorganized, and ultimately affirmed. Drawing on affect theory and gender performativity, this paper analyzes four dominant lighting structures in the film—cool diffused light, side-lighting, over exposed white light, and soft natural diffusion—and demonstrates how each modality corresponds to a distinct stage in Lili’s process of becoming: repression, fragmentation, liminality, and emergence. Through close reading of key scenes, the study reveals that light precedes narrative in communicating Lili’s internal transitions, enabling the spectator to experience identity as an embodied atmosphere rather than a psychological statement. The findings suggest that The Danish Girl visualizes transgender becoming not through textual ex position but through affective spatial design, marking light as a primary agent in the cinematic pro duction of gender. This research contributes to expanding discussions on transgender representation by proposing lighting as a central aesthetic and theoretical category in identity formation.