關於 三星集團孫女 ，我們在網路上蒐集到這些相關的討論、資訊與評價

How a Samsung Heiress Helped Make ‘Parasite’ a Triumph
三星創始人孫女如何將《寄生上流》推向勝利
原文：Foreign Policy https://tinyurl.com/rj2ke3p
譯文：觀察者 https://www.guancha.cn/GeoffreyCain/2020_02_18_536906.shtml
GEOFFREY CAIN

“When I was young and studying cinema,” South Korean director Bong Joon-ho
said in his Oscars acceptance speech for best director for his film Parasite,
which also won best picture, on Sunday, “there was a saying that I carved
deep into my heart, which is, ‘The most personal is the most creative’”—a
quote he attributed to Martin Scorsese. But it wasn’t just Bong’s vision
that brought Parasite to the screen; it was the institutional power of one of
the most powerful Korean companies—and the personal quest of a single woman
inside it.

以《寄生上流》獲得本屆奧斯卡最佳導演獎的韓國導演奉俊昊在得獎感言中說道：“我年
輕的時候學習拍電影，把一句話深深刻在了心裡，‘最個人的東西就是最有創造力的東西
’。”他說，這句話最早是美國名導演馬丁·史柯西斯說的。不過，《寄生上流》之所以
能被搬上螢幕，靠的不僅是奉俊昊的夢想，更重要的是來自韓國商界巨擘的機構力量，以
及該企業內部一個女人的個人追求。

https://i.guancha.cn/news/internet/2020/02/14/20200214175358644.png
圖：《外交政策》刊文《三星創始人孫女如何將寄生上流推向勝利》

After the ceremony, Western onlookers wondered why a scrum was gathering
around a low-key Korean woman in the audience. That woman, Miky Lee, is the
visionary behind South Korea’s film industry—an heir to the powerful
Samsung empire and the vice chair of CJ Group, whose film subsidiary, CJ
Entertainment, produced Parasite and a host of other award-winning auteur
flicks from South Korea. I tell her story in new detail in my upcoming book
Samsung Rising, due out this March. “She’s one of the producers who’s been
working behind the scenes for decades. She’s built the vision, found the
right people, and set up a business structure that has allowed Korean cinema
to achieve what it’s achieved,” an acquaintance of Lee’s in Hollywood told
me after the awards speech. “In our world of Korean film, I would say, yes,
we’ve finally found that the most personal is the most creative—and that’s
why we got this far.”

奧斯卡頒獎典禮結束後，在場的許多西方人不太清楚為什麼觀眾席上一位低調的韓國婦女
會被人們包圍。這個叫李美敬的女人是韓國電影產業的伯樂，她是三星財閥創始人李秉喆
的孫女、CJ集團的副會長，該集團旗下負責影視的子公司CJ娛樂製作了《寄生上流》以及
其它很多獲獎的韓國電影作品。在今年三月面世的拙作《三星升起》中，我對她的生平有
更詳細的介紹。奧斯卡獲獎感言環節結束後，好萊塢一位熟識李美敬的人告訴我：“她作
為製片人，數十年如一日在幕後努力工作，為韓國電影勾勒願景，物色人選，搭建商業架
構，使其能夠達到今日的高度。在韓國電影的世界裡，可以說我們終於發現了‘最個人的
東西就是最有創造力的東西’，我們走到今天這一步原因都在裡面。”

Until the 1980s, the idea of South Korea becoming a cinema powerhouse seemed
absurd to most people. Sure, there was the rare excellent movie, like A
Flower in Hell, directed by Shin Sang-ok and starring his wife, the actress
Choi Eun-hee—a power couple so talented that North Korea kidnapped them and
forced them to make propaganda films. Nevertheless, state censorship pervaded
the paranoid military regime. The junta of the 1980s had an official policy
of showing sleazy late-night cinema—full of cheap sex and gore and
nationalistic pride—on state TV channels as prolefeed to keep the people
happy. Between repression and B-movies, the country’s foray into serious
cinema didn’t begin until the early 1990s following the transition to
democracy in 1987.

上世紀80年代以前，人們不看好韓國會成為電影大國，大家都會覺得這種想法很荒謬。儘
管當時也不是完全沒有好電影，比如申相玉導演、他妻子崔銀姬主演的《地獄花》就是為
數不多的佳作他們甚至因為太有才華而被朝鮮綁架去拍宣傳片。然而，韓國當時的軍
事政權對文藝作品處處猜疑，審查嚴厲。上世紀80年代，軍政府甚至官方批准國家電視台
播放低俗的深夜電影充斥著廉價的色情、血腥和民族自豪感以此來取悅人民。一
邊是政治壓抑，一邊B級片，韓國直到90年代初之前，一直沒有拍過嚴肅電影。

That opened up new space for Korean producer-visionaries. Short, spunky, and
with a flair for the arts, Miky Lee, whose Korean name is Lee Mie-kyung, then
in her late 20s, came from an arm of the enormously wealthy Lee family that
founded Samsung Group, South Korea’s most iconic business empire. The
company makes the popular Galaxy smartphone and has its hands in seemingly
everything, from apartments to fashionable clothing to South Korea’s largest
theme park. But overseas, as a young Korean-language instructor at Harvard
University, where she was doing a master’s in Asian studies, Lee was
saddened by the fact that students passed over her Korean-language courses
for Japanese, which was cool in the 1980s, and Chinese, which was useful. “
My lifetime obsession to promote the Korean culture started then,” she told
Bloomberg Markets in 2014. Lee’s cousin, reflecting on her accomplishments,
told me: “[Lee’s] side of the family is different. They have the sense of
freedom. They don’t really fit in and take orders.”

新機遇為一批富有遠見的韓國電影製作人開闢了新天地。當時的李美敬未滿30歲，身材矮
小、精力充沛，極富藝術天份。她來自韓國頂級富有的李氏家族的一個分支。李氏家族創
立了韓國最具代表性的商業帝國三星集團。今天的三星公司除了生產手機，還涉足幾乎所
有領域，從公寓地產到時尚服裝，還坐擁韓國最大的主題公園。當時李美敬在哈佛大學修
讀亞洲研究碩士，也負責教韓語。她覺得難過的是，學生們不選她的韓語課，而去學日語
或漢語，前者在80年代很時髦，後者則很有用。2014年她在接受《彭博市場雜誌》採訪時
說：“我這輩子痴迷於推廣韓國文化，就是從那時開始的。” 在回顧李美敬的成就時說
，她一名親戚對我說：“她所在這一支李氏家族非常特殊。他們愛好自由，不去迎合，也
不聽人指揮。

https://i.guancha.cn/news/internet/2020/02/14/20200214180022330.jpg
圖：李美敬在本屆奧斯卡頒獎典禮尾聲時受邀上台致辭

The timing was perfect. The first generation of corporate founders of the
chaebol—massive family-run conglomerates like Hyundai, SK, and Samsung—was
dying off in the late 1980s and 1990s, opening the way for new leaders with
new visions. And with the arrival of democracy in 1987, South Korea’s
political leaders knew that this rising middle-class nation could not
manufacture cheap cars and microwaves forever. It would need to enter
creative industries in software, content, music, and cinema to sustain its
economic growth story. “An advisor to President Kim [Young-sam] explained
that the profit from a single film, ‘Jurassic Park,’ was equivalent to that
from the export of 60,000 Hyundai automobiles,” the Los Angeles Times
reported in 1996.

時機來得恰到好處。韓國各大財閥，如現代、SK、三星的第一代掌門人在80年代末和90年
代逐漸退出舞台，為擁有新視野的新一代接班人開闢了道路。隨著1987年韓國民主轉型，
韓國政府領導人認識到這個不斷崛起的中產階級國家不能永遠製造廉價汽車和微波爐。要
續寫經濟增長神話，就需要邁入創新產業，比如軟件、內容、音樂、電影等。1996年《洛
杉磯時報》的一篇報導寫道：“韓國總統金泳三的顧問告訴他，單單一部電影《侏儸紀公
園》的利潤就相當於出口6萬台現代汽車。”

By the standards of chaebol heirs, Lee started at a disadvantage. After the
death of Samsung founder Lee Byung-chul in 1987 and a family inheritance
feud, his oldest, estranged son, Lee Maeng-hee—Miky Lee’s father—inherited
the unglamorous arm of the Samsung empire, Cheil Jedang (later renamed CJ), a
foodstuff and confectionary maker. His third son, Lee Kun-hee, inherited the
crown jewel, Samsung Electronics, which emerged as a manufacturer of the
latest semiconductor technologies, powering the PC revolution.

如果以大財閥繼承人的標準來衡量，李美敬年輕時可以算是逆風開局。1987年，三星集團
創始人李秉喆去世，引發了家族內鬥。被父親疏遠的長子李孟熙，也就是李美敬的父親，
繼承了三星集團不那麼風光的專門生產食品和糖果的業務板塊Cheil Jedang第一制糖
株式會社（後來改名為CJ）。李秉喆的三兒子李健熙則繼承了集團王冠上的寶石三星
電子，這家公司後來一躍成為最先進半導體技術的生產商，助推了PC市場的革命。

Wildly successful Japanese firms like Sony, awash in cash holdings, were
snatching up marquee acquisitions, such as Columbia Pictures for $3.4 billion
in 1989—and South Korea saw similar opportunities. For Korea, everything
changed when Samsung Chairman Lee Kun-hee got involved. Once an aspiring film
director who watched Ben-Hur and other classics 10 times or more, Chairman
Lee appointed his niece Miky Lee to be a kind of artistic emissary to
California on behalf of Samsung. According to numerous people who worked with
her, Lee’s mandate was to ferret out acquisitions and partnerships for the
chairman—in design, the arts, film, fashion, and advertising—that could
elevate Samsung’s creativity beyond an electronics factory.

當時，大獲成功、現金流充足的日本企業掀起了海外收購熱潮，比如索尼於1989年斥資34
億美元收購美國哥倫比亞影業公司。此時的韓國也看到了相似的機遇。對於韓國電影來說
，李健熙的介入帶來了質的改變。李健熙曾經夢想成為電影導演，他把《賓漢》等經典電
影看了不下十遍。他讓侄女李美敬扮演三星集團駐美國加州藝術使者的角色。據很多曾與
李美敬共事的人回憶，她當時的任務就是幫李健熙會長尋找在設計、藝術、電影、時尚、
廣告領域進行併購與合作的機會，以期提升三星集團的創造力，使其不僅僅是一間電子工
廠。

In 1994, Lee heard from a lawyer in Los Angeles that a famous Hollywood trio—
Steven Spielberg, Jeffrey Katzenberg, and David Geffen—was looking for two
or three suitors for their film start-up, DreamWorks. Convincing her uncle,
Chairman Lee, that it was a smart business, Lee arranged a meeting for
Samsung at Spielberg’s home in Pacific Palisades, California.

1994年，李美敬從洛杉磯一位律師那裡聽說著名的好萊塢團隊史蒂芬·史匹柏、傑弗
瑞·卡森伯格和大衛·葛芬準備為他們的初創企業“夢工廠”找兩三個投資方。在說
服叔父李健熙這是個好商機之後，李美敬促成了三星團隊去史匹柏加州家裡會談。

The talks broke down when Samsung kept bragging about its semiconductor
successes all while demanding effective creative control over DreamWorks. “I
kept on saying to them,” Geffen told the New York Times in 1996, that “if
we were only interested in making money we’d also build semiconductor plants.
” Former Samsung executives involved in the talks told me that Spielberg was
asking for too much freedom—an unacceptable way to speak to the chairman,
who was “treated like a god” at Samsung, dozens of them said.

談話時，三星方面一直吹噓集團在半導體行業的成就，同時提出要掌控夢工廠的藝術創作
，結果當天不歡而散。1996年，葛芬告訴《紐約時報》：“我一直跟他們說‘如果我們只
對賺錢感興趣，那我們也去建半導體工廠了。’”參與當時會談的十多位前三星高管透露
，史匹柏要求的自由空間太大，他們根本沒法向會長交代。在三星集團內部，會長被捧得
像神一樣高。

As the chaebol set out on these California expansions, South Korea’s
regimented corporate culture became a liability. With stakes in AST Research,
then a top PC maker, and New Regency (then Regency International Pictures),
one of the film studios behind 1990’s Pretty Woman, Samsung kept hitting the
same roof and sometimes had to pull out, according to numerous people
involved in the deals whom I interviewed. “I’d call the Korean
headquarters, and I’d tell my bosses, ‘These are creative studios, and they
’re the best in the world. They’re not here to pump out cheap Hyundai cars
in high volume. You need to step back and let them do what they do best, or
else you’re going to chase out talent. The world is not Korea!’” a former
vice president involved in a major acquisition told me.

三星在加州開拓業務的同時，它的軍事化企業文化成了累贅。據熟悉當時情況的人介紹，
當時三星還持有當時PC頭號製造商虹志（AST Research）公司和新攝政娛樂公司（當時名
為攝政國際影業，是電影《麻雀變鳳凰》製作團隊之一）的股份，但財大氣粗的三星常常
呵斥合作夥伴，結果導致時不時撤資。一位曾參與集團大型併購的原三星副總裁告訴我：
“我打電話給韓國總部，跟集團領導們說了，這些是極富創意的電影工作室，水平是世界
頂尖的。他們不是在這裡量產廉價的現代汽車。你得退後一步，讓他們做他們最擅長的事
，否則你就把人才趕跑了。世界不是韓國！”

Lee was known among employees for her softer, more relaxed management style,
a quality that helped her get access to the Hollywood elite. “She is not
like Korean men, giving orders and expecting them to be followed,” her high
school English teacher told the New York Times. “To do anything creative,
you have to have a soft touch.”

相比之下，李美敬更為溫和、更為放鬆的管理風格在員工當中著稱，也是這樣的風格讓她
廣為好萊塢精英所接受。李美敬的高中英語老師告訴《紐約時報》：“她和韓國男人不一
樣，他們喜歡發號施令、指望別人遵照執行。但從事創意工作，你必須得用溫柔的方式。
”

After the Samsung-DreamWorks deal flopped, Spielberg’s trio, impressed with
Lee, approached her again about getting seed capital—and in 1995, Lee’s new
company, CJ, agreed to acquire a $300 million stake in exchange for Asian
distribution rights and the golden egg: Lee’s filmmakers would be allowed to
study under DreamWorks. A former Samsung consultant who worked with Lee said
her DreamWorks deal was the catch that laid the groundwork for her success
but that it was also a “slap in the face to the [Samsung] chairman,”
swelling an ongoing family rift. As CJ and Samsung unwound their complex
cross-shareholdings, Lee left Samsung and, with her brother, focused on
transforming CJ from just a cheap food-maker to a successful film studio as
well.

三星和夢工廠的合作泡湯了，但李美敬給史匹柏的團隊留下來深刻印象。他們再次聯繫她
，希望她能投入種子資金。1995年，李美敬的新公司CJ同意收購3億美元的股權，以換得
夢工廠電影在亞洲的發行權，還獲得了一個寶貴的“金蛋”：允許李美敬的製片團隊前往
夢工廠學習。一位曾與李美敬合作過的原三星顧問表示，李美敬收穫了與夢工廠合作的機
會，這為她後來的成功奠定了基礎，但也“直接打臉三星集團會長”,使家族內部本已存
在的分裂更加激化。隨著CJ和三星解除複雜的交叉持股，李美敬和哥哥李在賢離開了三星
，決心要把一直經營廉價食品業務的CJ公司打造為成功的電影製片公司。

That marked the birth of South Korea’s modern film industry. But the early
years were a struggle, in part due to the South Korean factory tradition
being applied to cinema—too many competitors churning out low-budget films
in high volumes. Economic crisis hit in 1997, shaking out poorly performing
studios. Samsung Entertainment, a CJ rival, was forced to shut down in 1999
after just a few years of operation.

這也標誌著韓國現代電影產業的誕生。最初幾年相當艱難，一部分原因是韓國把工廠製造
業傳統直接應用到了電影製作中太多競爭對手大量炮製低成本電影。1997年亞洲金融
危機淘汰了一批業績慘淡的電影工作室。1999年，CJ的對手公司三星娛樂在勉強支撐幾年
後也被迫關門。

But the competition made the industry leaner and smarter. And CJ’s new film
subsidiary, CJ Entertainment, guided by Lee’s eye for artistic success,
began producing early hits like Joint Security Area in 2000, about North and
South Korean soldiers who befriend each other at the Demilitarized Zone
separating the two countries, and 2003’s Oldboy, a dark tale about a
drunkard who wakes up in a cell and, after 15 years of captivity, is suddenly
released to the outside world.

但競爭讓整個產業重新洗牌後得以輕裝上陣。而CJ旗下的電影新公司CJ娛樂在具
有敏銳藝術商業嗅覺的李美敬的帶領下，開始出品一系列早期的熱門大片，比如2000年的
《共同警備區》，講述駐守朝韓非軍事區的兩國士兵成為好友的故事。又如2003年的驚悚
片《原罪犯》，講述主人公酒後遭綁架，被囚禁在私人監牢長達15年之久，最終重見天日
的故事。

The Korean wave, as it was called, was taking off, building a loyal fandom
for Korean film and music from around the world. But the ensuing decade
showed the dangers of overhyping the arts under the guise of manufactured
nationalism, as well as becoming overly dependent on a growing oligarchy of
studios—including CJ—that cemented control over almost the whole process,
from production to retail and distribution.

人們常說的“韓流”就此風靡，在世界範圍內形成了一批忠實於韓國電影和音樂的粉絲。
但接下來的十年也表明，無論是借民族主義炒作藝術，還是過度依賴CJ娛樂等不斷膨脹的
電影製片寡頭都很危險。這些電影公司牢牢把持著從製片、銷售到發行的整個產業鏈。

Dragon Wars: D-War, co-produced by CJ Entertainment and released in 2007, was
a costly project played up as Korea’s first truly global film. Set in Los
Angeles, with a multinational cast and crew, it told of legendary Korean
dragons that came out of their slumber and waged war on humanity. But the
film was widely panned for its cheesy acting, plot holes, and over-the-top
special effects. A critic for the Boston Globe wrote that “there was no
evidence that anybody involved with this laughable fantasy knew what he or
she was doing.”

由CJ娛樂聯合出品、耗費巨資的電影《龍之戰》於2007年上映，號稱韓國第一部真正的國
際大片。劇情發生在洛杉磯，演員和製作團隊高度國際化。該片講述的是傳說中的韓國巨
龍從沉睡中甦醒，對人類發起戰爭的故事。不過這部電影得到的差評如潮：演技拙劣、情
節漏洞、特效浮誇。《波士頓環球報》一位影評人寫道：“在這部可笑的奇幻片裡，每個
人都不知道自己在做什麼。”

An animated film, Empress Chung, released in 2005 and produced by the
well-known Simpsons animator Nelson Shin, was hyped as a groundbreaking,
cooperative project between North and South Korean animation studios. But it
grossed $140,000 on its opening weekend—a devastating loss for its $6.5
million budget—and then literally disappeared from the public domain after a
few screenings in Europe. No DVD was released. Even today, it’s not
available for streaming anywhere.

還有一部上映於2005的動畫電影《王后沈清》，由《辛普森家庭》的動畫導演尼爾森·申
製作，被包裝為韓朝兩國動畫電影公司聯手打造的巨製。結果上映的首週末票房僅14萬美
元，相比650萬美元的預算規模，可謂杯水車薪。在歐洲個別城市點映之後，完完全全從
公眾視野中消失了。市面上沒DVD賣，在流媒體都找不到任何資源。

Amid these flops, Lee’s CJ Entertainment embraced a hands-off model when
working with prominent directors, guaranteeing them full backing for their
vision, even in the face of adversity. One breakthrough came in 2013, when
Bong Joon-ho, who would later direct Parasite, released the brilliant
Snowpiercer with CJ, about the miserably poor citizens who live in the back
cars of a train that circles around a dystopian world, eating cockroach meat,
and who ignite a class revolution against their overlords up front.

經歷這些慘敗，李美敬的CJ娛樂公司在接下來與明星導演合作的時候，採取了“放手模式
”，就算再困難，也嚮導演們保證，充分支持他們的創作想法。於是2013年迎來了一次突
破。CJ出品了一部由奉俊昊執導《末日列車》，講述一列沒有終點、沿著鐵軌一直行駛的
火車，在末節車廂裡一群只能靠吃蟑螂肉維持生命的可憐人，向列車頭權貴發起了一場階
級革命。

Though a hit in South Korea, the disgraced mogul Harvey Weinstein muted the
film’s potential for U.S. success. He wanted to cut 20 minutes of nuanced
dialogue so the film could be understood by “people in Iowa and Oklahoma.”
“Harvey hated it,” Bong told Vulture.

儘管《末日列車》在韓國引起轟動，但它的製片人之一哈維·韋恩斯坦卻阻止了這部電影
在美國取得成功。韋恩斯坦想剪掉20分鐘微妙的對話，這樣美國“艾奧瓦和俄克拉何馬州
的人”也能看懂。奉俊昊告訴《Vulture》雜誌：“韋恩斯坦就是恨透了那一段”。

Snowpiercer also made enemies with the censorious South Korean government of
the increasingly authoritarian President Park Geun-hye, who put CJ on a
blacklist from government funding and had the company assessed for its “
growing left-leaning culture industry and recruitment efforts,” according to
a confidential intelligence report sent to Park. Not helping matters was the
trial and prison sentencing of Lee’s brother, CJ Group Chairman Lee
Jay-hyun, for tax evasion in 2015. (He was pardoned in 2016.) Lee left her
home in Seoul for Laguna Beach, California, citing ill health. “But it was
really all those troubles, including health, that chased her out for a while,
” a former CJ employee who knew her told me.

《末日列車》還引起了當時韓國政府的不滿。朴槿惠政府將CJ公司列入了政府資助的黑名
單。根據一份發給朴槿惠的機密情報：政府對CJ公司“文化產業和企業招聘中越來越顯著
的左傾情況”進行了調查。2015年，李美敬的哥哥、CJ集團會長李在賢因罪因逃稅受審並
被判刑，讓情況雪上加霜(他於2016年被赦免)。李美敬以身體不適為由，離開家鄉首爾前
往美國加州的拉古納海灘。“但其實是林林總總的煩心事，也包括健康問題，讓她不得不
離開一段時間”，一位瞭解她的前CJ公司員工是這樣告訴我的。

For all those troubles, Snowpiercer was the landmark movie that kicked off
the 2010s, the decade that saw Korean cinema blow up with global, mainstream
audiences. Korean filmmakers were wise to brush off the dull, decrepit profit
motives of Weinstein—and the mass-produced movies of the past. While Bong’s
films, with their often horrifying images, drew on the late-night shockers of
his youth, they moved far beyond them.

儘管經歷了那麼多困難，里程碑式的《末日列車》開啟了2010年代韓國電影風靡之旅，這
十年韓國電影在全球各地獲得了大批主流觀眾。韓國電影人明智地摒棄了韋恩斯坦沉悶和
老套的商業動機以及過去量產電影的路數。雖然奉俊昊的電影裡常常出現驚悚的畫面，那
是借鑑了他年輕時愛看深夜恐怖片，但後來他拍的電影已經遠遠超越了前人。

https://i.guancha.cn/news/internet/2020/02/14/20200214180244498.jpeg
圖：《寄生上流》獲得奧斯卡最佳影片、最佳原創劇本等四項大獎

Korean filmmakers learned to stay true to the personal—the most creative.
They were honest about the social ills hurting Korean society, like the vast
gulf between rich and poor, even as they were funded by the corporations that
helped drive that inequality. And then they found growing, worldwide appeal.
In 2019, the South Korean film industry raked in $1.61 billion—compared with
$370 million in 2004, back when the industry was releasing its first big
hits. That culminated in Parasite’s triumph. And Miky Lee, once a small-time
upstart breaking into Hollywood, later blacklisted by her own government,
made her comeback.

韓國電影人終於學會忠實於個人這才是最有創造力的。他們坦誠面對刺痛韓國國民的
社會弊病，比如貧富階層間巨大的鴻溝儘管拍攝這些電影的資金恰恰來自那些加劇貧
富差距的企業並以此在全球範圍內得到了越來越多的共鳴與支持。2019年韓國電影行
業賺了16.1億美元。而2004年當韓國影業推出第一波大片時，這個數字僅有3.7億美元。
《寄生上流》的勝利站在了這一波浪潮的高峰。而李美敬，這個曾經闖入好萊塢的小人物
，在被本國政府列入黑名單之後，如今又強勢回歸了。

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論述謬誤：1 轉移議題 change of subject、2 偷換概念 concept swap、3 虛假目標
strawman argument、4 人身攻擊 ad hominem、5 感性辯護 appeal to emotion、
6 關聯替代因果 correlation as causation、7 不當類比 false analogy、8 不當引申
slippery slope、9 同義反覆 circular reasoning、10 無知辯護 argument from
ignorance、11 引用權威 appeal to authority、12 黨同伐異 appeal to faction

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