Scripted resonance or lost in translation? Storytelling and Chinese reception of Everything Everywhere All at Once

Author:

Wang Aiqing1ORCID,Whyke Thomas William2ORCID,Lopez-Mugica Joaquin3ORCID

Affiliation:

1. ISNI: 0000000419368470 University of Liverpool

2. ISNI: 0000000089470594 University of Nottingham Ningbo China

3. ISNI: 0000000091171462 University of Wenzhou-Kean

Abstract

This study delves into the intricate art of screenwriting by critically examining the reception of the 2023 award-winning film, Everything Everywhere All at Once, among Chinese audiences. Notwithstanding its international laurels, Everything has sparked a divided sentiment in Mainland China. While its audacious blend of genres and the poignant depiction of Chinese–American experiences have been recognized, Everything was absent from Chinese theatres, owing to its explicit content. However, its digital footprint on Chinese streaming platforms has painted a picture of ambivalence. Many Chinese viewers expressed reservations about the screenwriters’ frequent use of pop culture references, perceived narrative clichés and the incorporation of elements that seem discordant with conventional Chinese storytelling. Yet, interspersed among these critiques is admiration for its visual brilliance and inclusivity. Grounded in resonance theory, this study scrutinizes Everything, particularly the screenplay’s reliance on the oft-touted ‘universal’ blueprint of the Hero’s Journey. Aligning with critiques suggesting such frameworks might be culturally myopic, this study connects these screenwriting choices to the lukewarm reception among Chinese audiences. Through this lens, the study offers invaluable insights for screenwriters keen on crafting narratives that resonate deeply with Chinese viewers. Moreover, it adds to the larger conversation about the need for diversifying screenwriting templates on the global stage, challenging the dominance of western-centric paradigms such as the Hero’s Journey. At its core, this study deciphers the intricate tapestry of screenwriting elements that strike a chord within the Chinese sociocultural milieu.

Funder

National High-End Foreign Expert

Publisher

Intellect

Reference139 articles.

1. Abdulbaki, Mea (2023), ‘How everything broke: A big box office record’, Screen Rant, 9 February, https://screenrant.com/everything-everywhere-all-once-box-office-record-explained/. Accessed 7 April 2023.

2. Anon. (2008), ‘Chinese parents impose top university dream on their children’, Global Times, 31 December, https://m.huanqiu.com/article/9CaKrnJlo43. Accessed 4 April 2023.

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