导演：沈靖皓
编剧：沈靖皓
主演：沈靖皓
制片人：张丁心
摄影：胡馨 刘彦卓
类型：音乐短片
时长：37分26秒
完成时间：2023
对白语言：汉语普通话
地区：中国
制片公司：无
Director: Shen Jinghao
Screenwriter: Shen Jinghao
Cast: Shen Jinghao
Producer: Zhang Dingxin
Cinematographer: Hu Xin, Liu Yanzhuo
Genre: Short music film
Length: 37min26s
Year: 2023
Dialogue: Mandarin Chinese
Region: China
Production Company: —
故事梗概 Synopsis
这件影像作品改编自1939年由美国米高梅公司出品，朱迪·嘉兰主演的电影《绿野仙踪》。讲述了唱着民歌的四川桃乐丝勇敢追爱的故事。
This visual artwork is adapted from the 1939 film ‘The Wizard of Oz,’ starring Judy Garland and produced by Metro-Goldwyn-Mayer (MGM). It tells the story of Sichuan Dorothy’s brave pursuit of love while singing folk songs.
导演介绍 Director’s Biography
1995年出生于四川，2023年研究生毕业于中央美术学院影像艺术研究专业。近期创作主要关注于性别研究，作品多以影像、身体表演、装置为媒介，聚焦于身体、身份和社会场域之间的动态关系，并试图带来一种对立、错位和流动的视角。
Born in Sichuan in 1995, Shen Jinghao graduated from the Video Art Research major of the Central Academy of Fine Arts as a graduate student in 2023. In his recent artistic practice, he has been primarily focusing on gender studies, using film, body performance, and installations, exploring the dynamic relationships between the body, identity, and social contexts, from contrasting, dislocating, and fluid perspectives.
导演阐述 Director’s Statement
朱迪和她所扮演的桃乐丝一角嵌入进了性少数群体的历史。在结合了自己的生活体验之后，通过扮演这位来自西方的世界级的同志偶像，我试图追寻中国本土酷儿群体的身份建构。
可能在中国，关于性别的讨论大都通过西方的话语进行书写和言说，这种声音经由译制腔和唇舞（Lip Sync）的转码，成为悬浮在每一位（可能只是城市的）酷儿头顶的绚烂彩虹之梦。西来的歌曲提供了一套骄傲的身份范式，但就像来自堪萨斯的桃乐丝高唱着四川民歌所带来的错位与混乱，“本土”和“本土化”之间总不免意味着对抗和磨合。从土地里生成出来的民歌好像从不会直抒胸臆似的：人们总是先唱花儿，再唱草儿，唱完风景唱劳动，唱到革命得解放，随后只在结尾轻轻地唤一声那遥远的郎，便因此羞得再也抬不了头。更不必提那永远端坐家中的父亲和母亲，那些难以触碰的禁忌情感，总不免让人语塞神伤。
当东方西方的话语都难以言说自我时，不如就歌唱吧，像刘三姐所唱：山歌好比春江水，不怕滩险湾又多。又或是如桃乐丝所唱：那些你敢于做的梦想，都会成真。可能对于桃乐丝来说，那一弯时隐时现的彩虹，它的意义从不在于抵达，而在于永不停止地奔跑。
In China, discussions about gender are largely written and spoken using Western discourse. These voices, translated and transposed through the encoding of dubbing and lip sync, become a dazzling rainbow dream floating above the heads of every (possibly only urban) queer individual. Western songs offer a proud identity paradigm, but just like Dorothy from Kansas singing Sichuan folk songs, it brings about a sense of displacement and confusion between the ‘local’ and ‘localization’, inevitably leading to clashes and compromises. Chinese folk songs that originate from the land rarely express their innermost thoughts directly: people always sing about flowers first, then about grass, singing about scenery and then labor, singing until the revolution brings liberation, and only at the end do they softly call for a distant lover, leaving them too shy to raise their heads, not to mention the perpetually seated father and mother at home, and those untouchable taboo emotions that always leave one at a loss for words and feeling heartbroken.
When both Eastern and Western discourses become difficult to articulate, why not sing instead? Like the song Liu Sanjie sings: Folk songs are like the spring river, unafraid of numerous shoals and bays. Or as Dorothy sings: And the dreams that you dare to dream, Really do come true. For Dorothy, perhaps that elusive rainbow holds a significance not in reaching it but in the endless pursuit without ever stopping.
