Post: 桃乐丝快跑!Run! Dorothy! Run!


摄影:胡馨 刘彦卓

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


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


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


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。


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.