2천 년대 TV 정치드라마의 대통령 이미지 분석

국문 초록 (Abstract)

정치드라마의 본질은 정치코드를 입힌 엔터테인먼트일 뿐이다. 그러나 정치드라마를 오락이 아닌 다른 관점에서 관찰할 이유가 있다. 다양한 방송매체 장르 중 하나가 아닌 정치를 바라보는 다양한 ‘요구’와 ‘해소’ 측면으로 본다면, 정치드라마는 개인 또는 집단이 현실정치에서 체감 할 수 있는 또 하나의 ‘소통의 통로’이자 ‘정치를 읽는 텍스트’가 될 수 있기 때문이다.
이전의 과거역사 재연 정치드라마의 틀을 벗은 창작 정치드라마가 잇따라 등장으로 2010년 이후 정치드라마는 진화의 시기를 맞았다. 최근 제작된 정치드라마는 이전의 정치드라마와는 전혀 다른 정체성을 갖고 있다. 그 차이는 재연과 창작에서 나타난다. 창작 정치드라마의 도래는 상업적 콘텐츠개발의 필요에 따라 생겨난 결과물일 수도 있으나, 정치적 측면에서 보면 정치문화 발전에 대한 다양한 욕구가 허구의 드라마를 통해 투영된 것이다. 내용적인 측면에서도 이를 증명하고 있다. <공화국 시리즈>를 비롯한 과거역사를 다룬 다큐포맷 정치드라마는 이미 존재했던 역사적 정치 사건들을 각색한 것이고, 2010년도 이후 제작된 픽션포맷 정치드라마는 현재의 정치문화를 바탕으로 새로운 스토리와 미래를 이야기 하고 있다. 이런 포맷의 차이는 중요한 변화를 내포하고 있다. 첫째, 정치현실이 반영된다는 점이다. 실제로 정치적으로 의미 있는 사건들이 에피소드로 활용되고 있고, 이슈와 정책들이 드라마의 주요 내용으로 차용되어 현실감을 주고 있다. 둘째는 미래지향적 정치를 그린다는 점이다. 과거사의 반성에서 그친 이전 드라마와는 달리 새로운 유형의 정치인과 정치권력을 보임으로써 정치 선행학습 역할을 한다는 점이다.
본 연구는 정치드라마의 극적 구조에서 가장 중요한 역할을 담당하고 있는 역할인 대통령의 이미지를 중점적으로 분석하여 정치드라마에서 대통령이 왜 중요한지, 대통령 역할을 통해 정치드라마는 무엇을 구현하려는 것인지를 찾아내는 것에서 출발한다. 정치드라마에서 대통령의 역할(Character)은 중요하다. 역사드라마의 왕의 역할과 같은 절대성과 완전성을 가진 역할이 바로 대통령이다. 대통령은 현실에서도 막강한 지위를 가지고 있고 대통령 중심제 체제 안에서는 더욱 그렇다. 정치인이 최종적으로 도달하고자 하는 목표인 대통령은 국가시스템의 운영자이자, 사회적 갈등의 조정자이고, 국정능력에 따라 국민적 지지 또는 비난을 감수해야 한다. 정치드라마도 대통령이라는 역할을 갈등의 정점에 놓을 수밖에 없는 이유가 바로 그와 같다. 이런 역할을 드라마는 그 욕망과 갈등을 더욱 극대화시킬 수 있는 것이다.
본 논문은 정치드라마의 대통령의 이미지를 분석하기 위해 다큐포맷 정치드라마 <제5공화국>과 픽션포맷 정치드라마 <대물>, <프레지던트>를 중심으로 연구를 진행하며, 다큐포맷 정치드라마 <제5공화국>의 주인공인 전두환 전 대통령의 이미지를 ‘사회형 이미지’와 ‘개인형 이미지’의 두 가지 틀로 나누고 분석하고 이 두 가지 속성의 차이와 보완 관계를 연구했다. 픽션포맷 정치드라마 <대물>, <프레지던트>는 역할 모델을 중심으로 이미지를 분석했다. 이 두 드라마가 허구의 인물 속에 실제 정치인들의 이미지를 차용한 부분이 드러났기 때문이다. 또한 <대물>은 기획의도에서 밝힌 이미지가 드라마에 제대로 구현됐는지, <프레지던트>는 장일준의 연설문을 통해 어떤 정치적 이미지를 이끌어내고 있는 지를 분석했다.
본 연구를 통해서 확인된 결과는 첫째 정치드라마는 주인공의 대통령이 되는 과정을 가장 기본적인 스토리로 구성한다. 이 과정에서 삶의 역경과 정치적 위기, 정치적 선택들이 드러나는 구성이 일반적이었다. 특히 정치드라마에서 대통령이 갈등의 중심이 되는 이유는 인간의 가장 큰 욕망을 대통령이라는 지위가 갖고 있기 때문이며, 이는 <제5공화국>의 전두환의 사례를 통해 확인했다. 결국 드라마는 이런 거대 권력자를 이용 극적 효과를 극대화할 수단으로 대통령을 활용하는 것이다.
두 번째로 대통령의 이미지 분석 결과 <제5공화국>의 전두환의 이미지는 사회형 이미지와 개인형 이미지로 분류, 이를 통해 전두환이 권력을 잡게 되는 과정과 권력획득 과정에서 벌어진 폭력, 그리고 권력을 유지하기 위해 벌인 수많은 행위들이 드러났다. <대물>은 대한민국 최초의 여성 대통령이라는 부제를 통해 유력 정치인인 ‘박근혜’를 연상 시켰다. 그러나 드라마 전개과정에서 현역 자치단체장인 ‘김두관’을 차용하였고, 대통령이 된 후에는 ‘노무현’을 떠올리게 함으로써 다양한 역할 모델 차용이 있었음을 알 수 있다. <프레지던트>의 장일준 또한 정치인과 정치적 사건들을 많은 부분 차용했다. ‘김대중’의 경력, ‘노무현’의 대통령 후보경선과정을 차용하여 극적인 경선 돌풍 이미지를 만들어냈다.
셋째 정치드라마의 정치코드는 현실과 이어진다는 점을 밝혔다. <제5공화국>은 과거 정치의 정치이슈를 재발시켰고, <대물>은 여성 대통령 이슈 외에도 해외파병, 해외의 국민안전, 개발특혜 등 정치이슈를, <프레지던트>는 한·미 FTA, 진보적 복지정책, 정치권력의 부조리를 고발한다. 정치드라마는 이용 방식에 따라 역기능 역할도 가능했다. <제5공화국>은 드라마 초기 전두환에 대한 인기몰이와 영웅화는 정치드라마의 역기능성을 보인다. <대물>과 <프레지던트>에서도 주인공의 역할 모델로 많은 전·현직 정치인을 차용하는데 유명 정치인의 에피소드가 등장할 때마다 정치인의 이름이 거론되면서 여론에 영향을 끼쳤다.

키워드 - 정치드라마, 다큐포맷, 픽션포맷, 대통령, 이미지, 전두환, 제5공화국, 군부독재, 하나회, 신군부, 대물, 프레지던트

다국어 초록 (Multilingual Abstract)

A political drama on television is just a form of entertainment that shows a political trend. However, there is a certain reason that this should be analyzed not as a mere entertainment but as the deliberate one with a new point of view. When a political drama is considered as “a demand” and “an outlet” of people for politics, not just as one of the various genres on television, the political drama can be “a live channel for communication” and “vivid text for understanding politics” for individuals or for communities in reality.
New creative political dramas have appeared and developed since 2010, which are different from the previous political dramas that only showed what exactly happened in history. The recent political dramas have completely different identities from the previous ones. The differences are from reenactment and creation. A creative political drama might be a production derived from commercial needs of developing new content, but it can be a form of diverse desires for developing political cultures in Korea, which are projected in a virtual reality with a certain political view. The fact that a political drama projects these desires can be found in content. There were many documentary-style political dramas such as Gonghwakuk Series (Series of Korean Republic, 공화국 시리즈) that were composed with an existing political history; however, other dramas that filmed after 2010 have adapted a fiction style. They show creative stories and political futures with a background of current political cultures. These styles imply significant changes in drama. First, the new-style dramas really reflect political reality. Indeed some episodes of the new-style dramas are from real political events, and these dramas also use some of real issues and policies as main content in order to deliver realism. Second, these dramas describe future-oriented politics. Unlike the old ones, which only show the regret of the past history, the current styled ones present new types of politicians and their power structures so that the dramas lead audience to learn in advance about new types of politicians and their power hierarchy.
This study will analyze images of a president in drama and figure out why the president is so important and what dramas aim to present through the role of the president. This is because a president takes the most important part in dramatic structure of the political drama. In political drama, a president character is dominant. The president in drama is like the king in historical drama who has the absolute power and the perfection. In reality, the president also has prevailing authority; it can be much stronger if the society consists of a president-centered system. The president whose position every politician covets is the administrator of national systems, the coordinator of social conflicts, and the persevering person who should endure all people’s supports or criticisms by how well he or she runs the government. This is why a character of the president should be at the zenith of conflicts in the political dramas. The presidential role can maximize desires and conflicts throughout the dramas.
In order to analyze images of the president in political dramas, this thesis focuses both on the documentary-style drama Je 5 Gonghwakuk (the 5th Korean Republic, 제5공화국) and the fiction-style dramas Daemul (The Great Man, 대물) and the President. The images of the president from the documentary drama Je 5 Gonghwakuk can be divided into two types: social image and individual image. By analyzing these images, this thesis will discuss differences and compensating features of these images.
The images of the fiction style dramas Daemul, the President are analyzed with focusing on characters’ roles. Some of the characters in these dramas demonstrate that their images are from real politicians. In addition, this thesis analyzes whether Daemul achieves the targeted images set from the beginning of the drama and what political images are illustrated through the speech of Jang Il-June, an antagonist, in the President.
This study has found three significant results. First, most of political dramas consist of basic stories by focusing on the process how each protagonist becomes the president. The dramas generally show personal adversities, political crisis, and political opportunities that antagonists have undergone during the process of being the president. Throughout the dramas the president is always on the center of the conflicts because he or she is on the highest position which can be one of the biggest desires for political man. This is shown with the case of Jeon Du-Hwan in Je 5 Gonghwakuk. Thus, political dramas exploit roles of the president who has enormous power in man to maximize dramatic effects.
Second, the analysis on the images of Chun Doo-Hwan in Je 5 Gonghwakuk results in dividing into two types of images: social image and individual image. Through this analysis, it is shown how Mr. Chun achieved his power, what violence he employed in the process of achieving the power, and what actions or crimes he committed to keep his power. In Daemul, the female protagonist alludes to Park Geun-hye, who is the most promising female candidate for the president of Korea, since there has been no female president in Korea so far. While the story is being developed, however, various images of real politicians such as the current governor Kim Du-kwan and the former president Roh Moo-hyun are pervaded into the antagonist of Daemul. In the President, the main character Jang Il June is described with using many politicians and political issues. To show a dramatic election scene, the drama exploits both real experiences of the former president Kim Dae-jung and the real events that happened in the presidential election of the former president Roh Moo-hyun.
Third, political trends of the dramas affect reality. Je 5 Gonghwakuk brings up the issues in the past poli

목차 (Table of Contents)

• 국문요약 ·········································································ⅴ
• 제1장 서론 ····································································01
• 제1절 문제제기 ··························································02
• 1. 연구배경 ································································02
• 2. 연구목적 ································································04
• 제2절 연구방법 분석틀 ·············································05
• 1. 연구범위 ································································05
• 2. 연구방법 분석틀 ··················································06
• 1) 제5공화국 ··························································06
• 2) 대물 ···································································07
• 3) 프레지던트 ························································07
• 제2장 이론적 배경 ·······················································09
• 제1절 이미지 정치 ·····················································09
• 1. 이미지 정치의 개념 ·············································09
• 2. 정치인 이미지 구성요소 ·····································11
• 제2절 TV 정치드라마 현황 ·······································14
• 1. TV 정치드라마 특징 ·············································14
• 2. TV 정치드라마의 현실 ·········································20
• 제3장 다큐포맷 정치드라마 이미지 분석 ················23
• 제1절 <제5공화국> ····················································23
• 제2절 이미지 분석 ·····················································25
• 1. 사회형 이미지 ······················································25
• 2. 개인형 이미지 ······················································35
• 3. 이미지 분석 내용 ·················································38
• 1) 이미지의 정화 ····················································39
• 2) 정치가 유형 분석 ···············································40
• 3) 5공 드라마를 통한 경험적 사실 ······················43
• 제4장 픽션포맷 정치드라마 이미지 분석 ················45
• 제1절 <대물> ······························································45
• 1. 역할 모델 분석 ·····················································45
• 2. 기획의도에서 드러난 이미지 분석 ····················51
• 3. 정치가 유형 분석 ·················································55
• 제2절 <프레지던트> ··················································57
• 1. 역할 모델 이미지 분석 ········································58
• 2. 연설문을 통해 생성되는 이미지 분석 ··············64
• 3. 정치가 유형 분석 ·················································71
• 4. 드라마에 투영된 대한민국 대통령상 ················73
• 제5장 결론 ····································································75
• 1. 포맷별 대통령 유형비교 ······································75
• 2. 결언 ········································································77
• 참고문헌 ········································································81
• ABSTRACT ···································································95