This piece of writing is intended to explain the underlying political consciousness in films by Lee Gyu-Woong, called <Tragedy of Danjong> (original novel by Lee Gwang-Soo, adapted by Lee Seo-Goo, 1963) and <King Sejo>(original novel by Lee Gwang-Soo, adapted by Kang Young-Jo, Yu Il-Soo, Lee Jang-Soo, Ha Hui-Ryong, 1970). Although a film, <Tragedy of Danjong>, by Lee Gyu-Woong used an original novel by Lee Kwang-Soo, it is quite different from the historical facts and is also very different from <Tragedy of Danjong>, produced in 1956 by a director named Jeon Chang-Keun. As 12-year-old child, Danjong, was featured as an adult, his affectionate love with Danjong's wife, Queen SONG, and tragic ending were being emphasized, and this signifies that the political change by King Sejo and Danjong's fate were being reorganized into a melodrama, which was the most preferred genre by Koreans at the time. This is political in two aspects. First, as it was reorganized into the most popular genre, it expanded opportunity of popular thinking on 'Political Change by King Sejo', and by shaping a young and weak politician, who was ruined in just two years, it aroused the 2nd republic that was replaced by the coup d'etat. Specially, an image of Danjong's wife, who was escaping long distance with a body of a weak woman to avoid the government troops and to protect 'Danjong,' was representing the politicization of a female character, who supported nationality of colonial period. Somber outlook of the 3rd republic is foreseen when their love eventually comes to the tragic catastrophe. In a sequel called <King Sejo>, as 'Sejo,' who ascended the throne but suffered with sleepless nights when he was not even approved by his own children, and his death were being shaped dramatically, it revealed the passion of a political power turnover of the eve of Revitalizing Reform.