Daughter's Dilemma: Queer Identity and Misogyny in Mother-Daughter Relationship in Everything Everywhere All At Once
Abstract
This research paper focuses on exanimating the connection and relation between Chizuko Ueno’s statement of misogyny in mother-and-daughter relationships and queer identity. Moreover, this paper will provide a case study on the film Everything Everywhere All At Once as a base for examination. Starting with introducing the plots of the film and the basic theory of misogyny in the relationship of mother and daughter by Ueno, this work would then move on to an in-depth analyze of the characteristics of the mother and the daughter in the film and their relationships with each other. By analyzing the mother and daughter in the film, the daughter’s complexity for being a queer member, which failed her mother’s expectations and the mother’s wish to control her daughter to become her other self and her neglect of such wish by embracing her daughter after having experiences that resemble those of her daughter’s queer identity is clearly manifested.
References
- De Beauvoir, S. (1949). The Second Sex. Vintage Classics.
- Liu, M. (2023). Love in Shadow: The Narrative of East Asian Mother-Daughter Relationship in Contemporary Films (p. 60).
- Ueno, C. (2015). Yan nü: Riben de nü xing xian wu (L. Wang, Trans.). Shanghai San Lian Shu Dian.
- Carrillo-Vargas, D. (2022). Bridging the Fragmented Identities and Experiences of Immigrant and Queer Women of Color: A Queer Analysis of the Film Everything Everywhere All at Once (pp. 5–7).
- Sudhakaran, A. (2023). Motherhood in the Multiverse: Melodrama and Asian American Identity in Everything, Everywhere, All at Once (p. 2).