영화 <에브리씽 에브리웨어 올 앳 원스>가 구현한 노마드와 리좀의 세계에 관한 일 고찰

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.