於虛擬的彼岸 迴魂(不)散 In Virtual Return You (can’t) Dehaunt

导演:林雅莉
编剧:林雅莉、卢妤
主演:阿琪、Laura、卢妤、Y
制片人:林雅莉
摄影:林雅莉、Joy Chao、尼扎·伊莱亚斯、卢妤、彼得亚雷·赛尔
类型:纪录短片
时长:24分钟18秒
完成时间:2021
对白语言:英语、粤语
字幕:中文、英语
地区:英国、法国、中国香港
制片公司:无

Director: Yarli Allison
Screenwriter:  Yarli Allison, Yin Lo
Cast: Kay, Laura, Lo Yu, Y
Producer: Yarli Allison
Cinematographer: Yarli Allison, Joy Chao, Nizah Elias, Yin Lo, Piotr Sell
Genre: Short Documentary
Length: 24min18s
Year: 2021
Dialogue: English, Cantonese
Subtitles: Chinese, English
Region: UK, France, Hong Kong China
Production Company: None

故事梗概 Synopsis

《于虚拟的彼岸,回魂(不)散》讲述了四位出生于80年代的香港酷儿移民的真实故事,对于他们来说,移民和散居国外的经历与儿时在不复存在的英国殖民下的香港的回忆交织在一起。

融合了民族志研究、数字建模、采访摘录、纪实小说写作、编舞和表演,林雅莉通过虚拟现实技术重构了他们的童年。她与作家卢妤和人类学家哈罗·马塔斯博士合作,受访者重新审视了他们对“家”的记忆。这个“家”,成为利用虚拟技术重建的合成但怀旧的空间,充满了熟悉却又缺乏人味的物品和财产。

In Virtual Return You (can’t) Dehaunt / 於虛擬的彼岸 迴魂(不)散 traces the real life stories of four queer Hong Kong transmigrants born in the 1980s, for whom lived migrant and diaspora experiences exist alongside memories of childhood homes under British colonial rule that no longer exist.

Deploying ethnographic research, digital modelling, extracts from interviews, docu-fiction writing, choreography and performance, Yarli Allison has reconstructed their childhoods in virtual reality (VR). Working with writer Yin Lo and anthropologist Dr. Haro Matas, the interviewees revisit their memories of ‘home’ – virtually reconstructed as a synthetic yet nostalgic space, filled with familiar yet depersonalised objects and possessions.

导演介绍 Director Biography

林雅莉,出生于香港/加拿大,生活在英国和巴黎的艺术家,她的艺术表达横跨雕塑、数字、表演、电影、绘画和装置。

作为英国、广东和加拿大移民的第三代,雅莉本人出生在加拿大,她在香港长大,后来移居欧洲。频繁搬迁带来的复杂身份,使她更加关注移民背井离乡的历史现实和他们之间的团结一致。在她的作品中,充满了由她创造的生存策略和应对机制,常常包含人物/生物的互动。

Yarli Allison is a Hong Kong-Canadian born, UK/Paris-based artist with a multidisciplinary approach that traverses sculpture, digital, performance, film, drawing and installation.

As the third generation of British, Cantonese and Canadian diaspora and born in Canada herself, Yarli was raised in Hong Kong before relocating to Europe. Her frequent relocations and mixed identities have focused her attention to the collective uprootedness and solidarity of migrant demographic groups. In her works, she fabricates imagined worlds that consist of her invented survival tactics and coping mechanisms, often in interaction with personas or creatures.

导演阐述 Director Statement

在香港,有一种文化信仰认为鬼魂会在死后渴望回到原点,否则就会成为孤魂“流浪”于世间。在作品里,它被表达为一种源于内在的“复归”冲动,这种冲动企图弥合“心属”和“归属”之中的间隙。香港的政治历史背景复杂,1841年成为英国殖民地以来,香港迎来了几次“大规模移民潮”。有关移民问题的争论仍然喋喋不休,而现今仍然存在的反反复复的政治动荡,也进一步加剧了这种争论。

In Hong Kong, there is a cultural belief in ghosts having the desire to return to their origin after death – or else suffer the fate of ‘wandering’. Here, it is expressed as a phantasmagoric urge from within to ‘return’, that haunts in its desire to bridge the senses of ‘longing’ and ‘belonging’. With Hong Kong’s complex political history, including several past ‘Mass Migration Wave’ events since it became a British colony in 1841, the unceasing debate on migration remains, and is further exacerbated by the recurring political turbulence still experienced today.

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