노태우 정부 시기(1988-1993)의 레임덕 영화 연구

초록

Following the announcement of the June 29 Declaration in 1987, South Korea implemented a direct presidential election system and a five-year single-term presidency, leading to the establishment of the Roh Tae-woo administration in 1988. While the goal of electing a president through direct elections was achieved through the democratic movement, the five-year single-term system has inherent limitations, inevitably leading to a power drain phenomenon known as ‘lame duck’ toward the end of the administration. The Roh Tae-woo administration initially responded to the era’s demand for democratisation by addressing the liquidation of the Fifth Republic, but this also weakened its own power base. In particular, the three-party merger carried out in early 1990 to break the political deadlock caused by the opposition party’s majority in the National Assembly not only led to a setback in democratisation, but also brought Kim Young-sam to the forefront as a candidate for the next presidential election, thereby concretising the lame duck phenomenon of the Roh Tae-woo administration. In addition, a series of revelations and suspicions regarding corruption involving relatives related to large-scale national construction projects at the end of his term further accelerated the lame duck phenomenon of the Roh Tae-woo administration. The lame duck phenomenon of the Roh Tae-woo administration served as an important factor in expanding the creative realm of Korean cinema during this period. This meant that it became possible to make films about topics that had previously been taboo or considered off-limits. These films emphasised the tragedy of ideology by revealing the ethnic homogeneity of the Korean people despite the ideological hostility between North and South Korea, and dealt with the Gwangju Uprising, which was directly related to the Roh Tae-woo administration. At the same time, films that reinterpreted the Vietnam War from the perspective of individual experiences rather than the national level, films that raised questions about social structures through various social conflicts, and films that broke away from the previous illusions about the United States and r evealed the perspectives that lay beneath them has been made and released in the theatres. This diversification of themes and subjects demonstrates that the lame duck phenomenon of the Roh Tae-woo administration and the formation of characteristics in Korean cinema during this period were inextricably linked to changes in the ruling power of the time.

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