본문 바로가기
  • Home

A Study on the World of Nomad and Rizome embodied in the movie Everything Everywhere All At Once

  • The Journal of Study on Language and Culture of Korea and China
  • Abbr : JSLCKC
  • 2023, (68), pp.325-351
  • DOI : 10.16874/jslckc.2023..68.011
  • Publisher : Korean Society of Study on Chinese Languge and Culture
  • Research Area : Humanities > Chinese Language and Literature
  • Received : April 10, 2023
  • Accepted : May 20, 2023
  • Published : May 31, 2023

sung-hee Jin 1

1숭실대학교

Accredited

ABSTRACT

This article analyzes "Daniels"' film Everything Everywhere All At Once, which has been active in various media genres with an experimental attitude, and examines the aspect of raising the level of minority, family, or growth films with a special film aesthetics that has not been seen in film grammar. "Daniels" showed the essence of grammar that crosses the boundary between films and films with intertextuality that "brings" representative works of Hong Kong films and certain film genres through a device called "multi-space." In addition, Chinese actors working in Hollywood re-write their own history in the film, acting as translators of identity such as ethnic-national-class-cultural crossings and actively participating in the work's central theme awareness and semanticization process. The narrative of Everything Everywhere All At Once is in line with Deleuze and Gatari's nomadism and Rizome's consciousness. The characters in the movie break down the existing order by crossing the existing "selfs" in the multiverse. In these universes, someone does not judge others by superior power. The narrative of these films provides implications for the healthy existence between me and the group, including those living in the ups and downs of complex history and political science between the East and the West.

Citation status

* References for papers published after 2023 are currently being built.