《寄生虫》背后的社会冷暖
"When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes," says director Bong Joon-ho, who spoke with us through an interpreter at the Culver City, Calif. offices.
“我小时候，确实曾经住过一段时间的平房，不过大部分时候我都是在公寓楼里长大的，”导演奉俊昊在加州卡尔弗市的办公室里通过翻译对我们说到。
"So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and '80s, apartment complexes symbolized the middle class."
“我一般住在9层，也住过13层，所以基本上属于半空中。在20世纪七八十年代的韩国，公寓楼是中产阶级的象征了。”
You don't see much of the middle class in Parasite.
不过在电影《寄生虫》中，你不怎么能见到中产阶级。
Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.
它的故事场景从首尔山上一座闪耀的现代主义豪宅切换到了一个肮脏的公寓地下室。
Gina Kim, a professor at UCLA and filmmaker originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York.
吉娜·吉姆是加州大学洛杉矶分校的一名教授，也是祖籍韩国的一名电影制作人，她提醒说类似的豪宅在世界上任何地方都有：柏林，迪拜，以及纽约的韦斯特切斯特郡。
But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.
不过这种半地下室式的公寓是首尔特有的，她说：它从美苏核对峙时期就开始有了。
"Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings," she says.
“在朝鲜战争之后，人心惶惶。他们开始在所有的建筑里修建掩体，甚至在大公寓楼也有，”她说道。
"So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s."
“所以电影里描绘的空间，那个半地下室的公寓，就属于这种掩体，在20世纪70年代曾经就是作掩体用的。”
There's more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as Parasite's anti-heroes.
电影中出现的掩体还不止一个，不过这个半地下室的掩体是金家人的主要的家，他们在《寄生虫》中或多或少的扮演了反抗英雄。
Renting out such semi-basements as residences was illegal for a long time, Kim says.
在很长一段时间里，把这种半地下室作为居所是非法的，吉姆说道。
They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.
那里遍布霉菌和害虫，还容易受潮；住在那里的人们容易得慢性的疾病如咳嗽和皮肤病。
But over just a few decades, South Korea went from being one of the world's poorest economies to the eleventh-largest.
而在几十年间，韩国从世界上最贫穷的国家发展成了全球第十一大强国。
Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in.
吉姆说政府被迫将这种半地下的公寓合法化了这样才能让进城的工人有地住。
That doesn't mean they became desirable.
但这并不意味着这些公寓变得被人们所喜爱了。
"People can look into them," Kim says.
“人们可以看到里面的人，”吉姆说道。
"People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have."
“有人会在窗口偷窥。人们会把车停在前面，挡住他们的采光。”
Boon Jong-ho says the family in the basement wants to improve their situation, but they're mired in the muck — literally and figuratively.
奉俊昊说地下室里的一家人想要改善家境，但无论从字面上还是从经济上看他们都深陷泥潭。
"These semi-basement homes are only half underground. That's very similar to the psychology of our protagonists," he says. "We became a wealthy country very fast.
“这些半地下室的房子只有一半在地下。跟我们主角的心理很像。”
And people who weren't able to board that fast train towards wealth, they feel lost.
而那些没能打上财富快车的人们感到非常迷茫。
And they feel a sense of inferiority."
“他们会感觉低人一等。”
"The economy is not just about numbers," he says.
“经济学不止关乎数字，”他说道。
"It also carries a lot of emotion as well."
“也关乎情感。”
These themes have played out in Bong's earlier films, especially his 2013 class parable Snowpiercer, as well as in South Korean popular culture more generally.
这一类主题在奉俊昊早期的电影里也有所反应，尤其是在他2013年的非常经典的《雪国列车》中，其实在韩国流行文化中也总体有所体现。
Gina Kim points to a 2008 indie rock hit "Cheap Coffee" by Chang Kiha, which speaks to young people failed by dreams of class mobility.
吉娜·吉姆提到了2008年的独立摇滚代表作昌其霞的《廉价咖啡》，就是对那些没法跨越阶层的年轻人们发声。
Her translation of the opening lyrics:
她对歌词前面部分的翻译如下：
I drink cheap coffee
我喝着廉价的咖啡
It's not even lukewarm and I get heartburn
咖啡不温了，心也碎了
My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.
我的脚粘在了地上油毡布上，扯下来时发出刺耳的声音
A cockroach skitters by but I don't even care
一只蟑螂爬过我也不想管了
I just wonder why my cough doesn't stop in dark mornings.
我只想知道为什么在这阴暗的早晨咳嗽老是不停
The metaphors here, Kim says, are not especially subtle.
吉姆说道，这里的比喻还是不算隐晦了。
But then again, neither is the story — in Parasite and around the world — of structural inequality.
不过，这个讲阶级不平等性的故事也其实很直白——既包括《寄生虫》里的世界也包括真实的世界。
问题
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