Hollywood’s Progress and Limitations in the Representation of Asians: Focused on <Everything Everywhere All at Once>
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This article analyzes the film <Everything, Everywhere, All At Once> from a cultural imperialism perspective and discusses the progress and limitation of Hollywood’s representation of Asian. In addition, it scrutinizes the series of events surrounding the film <Everything, Everywhere, All At Once>, which won the Best Picture, Best Actress, Best Supporting Actor, Best Supporting Actress, Best Director, Best Screenplay, and Best Editing awards at the 95th Academy Awards, all through the lens of cultural imperialism. Since 2020, Hollywood has actively embraced Asian cinema, Asian filmmakers, and Asianess under the guise of promoting diversity, often positioning itself as a judge of other cultures. It can be argued that the awards given to Malaysian-Chinese actress Michelle Yeoh for Best Actress and Jonathan Ke Quan for Best Supporting Actor reflect an imperial gaze towards Asians within the United States, beyond the Asian characters depicted in the film. Hollywood endows artistic prestige upon Asian films or filmmakers that embody American ideals of Asianess and solidifies the archetypal Asian model minority, perpetuating a legacy of traditional family values and success. Furthermore, the moving acceptance speeches of the award-winning actors reveal the illusion of the American dream and reinforce Hollywood’s cultural imperialistic agenda. This article will also delve into the critical and practical stance that the Asian film industry should adopt in response to these phenomena.
Abstract
This article analyzes the film <Everything, Everywhere, All At Once> from a cultural imperialism perspective and discusses the progress and limitation of Hollywood’s representation of Asian. In addition, it scrutinizes the series of events surrounding the film <Everything, Everywhere, All At Once>, which won the Best Picture, Best Actress, Best Supporting Actor, Best Supporting Actress, Best Director, Best Screenplay, and Best Editing awards at the 95th Academy Awards, all through the lens of cultural imperialism. Since 2020, Hollywood has actively embraced Asian cinema, Asian filmmakers, and Asianess under the guise of promoting diversity, often positioning itself as a judge of other cultures. It can be argued that the awards given to Malaysian-Chinese actress Michelle Yeoh for Best Actress and Jonathan Ke Quan for Best Supporting Actor reflect an imperial gaze towards Asians within the United States, beyond the Asian characters depicted in the film. Hollywood endows artistic prestige upon Asian films or filmmakers that embody American ideals of Asianess and solidifies the archetypal Asian model minority, perpetuating a legacy of traditional family values and success. Furthermore, the moving acceptance speeches of the award-winning actors reveal the illusion of the American dream and reinforce Hollywood’s cultural imperialistic agenda. This article will also delve into the critical and practical stance that the Asian film industry should adopt in response to these phenomena.
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