The Intersection of Visual Style and Emotional Storytelling in “Everything Everywhere All At Once”
“Everything Everywhere All At Once”中视觉风格和情感叙事的交集

Introduction
介绍

Everything Everywhere All At Once, directed by Daniel Kwan and Daniel Scheinert, was released in 2022. This is an innovative film that combines elements of science fiction, comedy and drama. The film tells the story of Evelyn Wang, a middle-aged immigrant woman who, while facing family conflicts and career crises, unexpectedly finds herself a vital role in saving the multiverse. The film won several awards, including the Academy Award for Best Picture, for its dynamic visuals, experimental narrative structure and deep emotional content.
由 Daniel Kwan 和 Daniel Scheinert 执导的 Everything Everywhere All At Once 于 2022 年上映。这是一部融合了科幻、喜剧和戏剧元素的创新电影。该片讲述了中年移民女性 Evelyn Wang 的故事，她在面临家庭冲突和事业危机时，意外地发现自己在拯救多元宇宙方面扮演着至关重要的角色。这部电影因其动态的视觉效果、实验性的叙事结构和深刻的情感内容而赢得了多个奖项，包括奥斯卡最佳影片奖。

Everything Everywhere All At Once is remarkable because of its groundbreaking visual style and intricate emotional narrative. The film's fast scene transitions, inventive use of color, and non-linear narrative approaches combine personal stories with science fiction elements. This combination encourages the viewer to interact more deeply with the film. As Buckland proposed in "Puzzle Films" (2009), such a complex narrative structure defies traditional storytelling norms. It makes the audience actively work to piece together the fragmented plotlines, which demands more cognitive effort from them.In the academic realm, this film provides significant insights into the integration of visual storytelling and emotional profundity. Its exploration of emotional resonance ties in well with the concepts presented in "A Dictionary of Film Studies" by Kuhn and Westwell (2012). It emphasizes how experimental films can capture the audience's attention both intellectually and emotionally. This paper aims to analyze how Everything Everywhere All At Once employs visual and narrative techniques to heighten the audience's emotional resonance and improve their understanding of the film's message.
Everything Everywhere All At Once因其开创性的视觉风格和错综复杂的情感叙事而引人注目。这部电影的快速场景转换、创造性的色彩使用和非线性叙事方法将个人故事与科幻元素相结合。这种组合鼓励观众与电影进行更深入的互动。正如巴克兰在《益智电影》（Puzzle Films，2009）中所提出的那样，这种复杂的叙事结构违背了传统的叙事规范。它使观众积极努力拼凑零散的情节，这需要他们付出更多的认知努力。在学术领域，这部电影为视觉叙事和情感深度的整合提供了重要的见解。它对情感共鸣的探索与 Kuhn 和 Westwell （20，12） 在《电影研究词典》中提出的概念非常吻合。它强调了实验电影如何在智力和情感上吸引观众的注意力。本文旨在分析 Everything Everywhere All At Once如何利用视觉和叙事技巧来增强观众的情感共鸣并提高他们对电影信息的理解。

In order to answer the above research questions, this paper will adopt the following three theoretical frameworks: Firstly, the emotion theory of Carl Plantinga is used to analyze how films trigger the audience's emotional response through visual and narrative elements; Secondly, Ed Tan's theory explores the emotion and psychological reaction in the film, and analyzes how the audience understands the film through the emotional experience. Finally, David Bordwell's narrative analysis method is used to analyze how the technology used in film at the structural and visual levels drives narrative development.
为了回答上述研究问题，本文将采用以下三个理论框架：首先，利用卡尔·普兰丁格的情感理论来分析电影如何通过视觉和叙事元素触发观众的情感反应;其次，Ed Tan 的理论探讨了电影中的情绪和心理反应，并分析了观众如何通过情感体验来理解电影。最后，David Bordwell 的叙事分析方法用于分析电影在结构和视觉层面上使用的技术如何推动叙事发展。

The structure of the paper is as follows: First, the literature review section discusses the academic background of emotion theory and narrative analysis, and places this study in the context of related research; The next part is case analysis, which combines the theoretical framework to deeply analyze the key scenes and techniques of Everything Everywhere All At Once, focusing on the interaction between visual style and emotional narrative. The last part is the conclusion, which summarizes the research findings, puts forward the contribution to the field of film research, and provides suggestions for the future research direction.
论文的结构如下：首先，文献综述部分讨论了情感理论和叙事分析的学术背景，并将本研究置于相关研究的背景中;下一部分是案例分析，结合理论框架，深入分析《瞬息全宇宙》的关键场景和手法，重点关注视觉风格与情感叙事的互动。最后一部分是结论，总结了研究成果，提出了对电影研究领域的贡献，并对未来的研究方向提出了建议。

Literature Review
文献综述

Emotion Theory:
情感理论：

Carl Plantinga pointed out in Moving Viewers: American Film and the Spectator's Experience that "The experience of emotion is one of the principal motivations for the viewing of movies". He emphasized that movies are "emotional machines" through "narrative point of view, narrative structure, and character engagement" (Plantinga, 2009). Movies are "emotional machines" that not only involve individual immediate reactions, but also can affect the audience's collective memory and cultural experience. In addition, he also mentioned that "Emotions provide narrative information that is necessary for audiences to follow the narrative" and guide the audience's understanding and resonance of the narrative through "sympathies and antipathies for characters" (Plantinga, 2009).
卡尔·普兰丁格 （Carl Plantinga） 在《移动的观众：美国电影和观众的体验》中指出，“情感体验是观看电影的主要动机之一”。他强调电影是通过“叙事视角、叙事结构和角色参与”的“情感机器”（Plantinga，2009 年）。电影是“情感机器”，不仅涉及个人的即时反应，还能影响观众的集体记忆和文化体验。此外，他还提到“情感提供了观众跟随叙事所必需的叙事信息”，并通过“对角色的同情和反感”来引导观众对叙事的理解和共鸣（Plantinga，2009）。

Ed Tan believes that movies affect the audience's psychological state through some identification mechanisms. During the viewing process, the audience connects with themselves through the character's behavior, emotions, fate and other thoughts, thereby resonating emotionally and identifying with the character. As he pointed out, "the audience's understanding of narrative and characters is achieved through emotional connections, which guide them to deeply experience the inner world of the characters" (Tan, 2013). This identification mechanism allows movies to penetrate people's hearts and trigger audience resonance and thinking.
Ed Tan 认为，电影通过一些识别机制影响观众的心理状态。在观看过程中，观众通过角色的行为、情感、命运等思想与自身建立联系，从而在情感上产生共鸣，与角色产生认同。正如他所指出的，“观众对叙事和人物的理解是通过情感联系实现的，情感联系引导他们深入体验人物的内心世界”（Tan，2013）。这种识别机制让电影能够深入人心，引发观众的共鸣和思考。

Narrative Analysis:
叙述分析：

David Bordwell pointed out in Narration in the Fiction Film that “cinematic narration involves two principal formal systems: syuzhet (plot) and style, which guide the spectator to frame hypotheses and draw inferences” (Bordwell, 2013). He regards the narrative form of film as a systematic operation process, covering narrative structure, story perspective, and audience cognitive participation. In addition, Bordwell emphasized that “Classical Hollywood narration creates a highly self-contained and goal-oriented structure, relying on character-driven plots and clear causal relationships” (Bordwell, 2013). These views provide an important framework for understanding the classical Hollywood narrative model.
大卫·博德威尔 （David Bordwell） 在《小说电影中的叙述》中指出，“电影叙事涉及两个主要的形式系统：syuzhet（情节）和风格，它们指导观众构建假设并得出推论”（Bordwell，2013 年）。他将电影的叙事形式视为一个系统的操作过程，涵盖叙事结构、故事视角和观众认知参与。此外，Bordwell 强调，“经典的好莱坞叙事创造了一个高度自成体系和以目标为导向的结构，依赖于角色驱动的情节和明确的因果关系”（Bordwell，2013 年）。这些观点为理解经典的好莱坞叙事模式提供了一个重要的框架。

These theories are of great significance in analyzing the emotions and narratives of Everything Everywhere All At Once, and they provide multi-layered and complementary perspectives for interpreting the film. Plantinga and Tan's theories of emotions help us understand how the film elicits emotional responses from the audience through visual and narrative elements, especially in the emotional process of expressing family conflict and reconciliation. These theories help explain how the audience resonates deeply with the characters.Tan's focus on role identification mechanisms and Plantinga's idea of the "emotional machine" are both strongly supported by the film's use of quick visual switching and a convoluted narrative framework to entice audience participation. Bordwell's narrative analysis theory also lends assistance to the understanding of the film's complex narrative mode. A rigorous approach is required to understand how Everything Everywhere All At Once's non-linear narrative, frequent perspective switching, and multi-level narrative design guide the audience's cognitive participation. Bordwell's technique enhances the audience's cognitive and emotional engagement in complex narratives by studying how the film use syuzhet (plot) and style to construct narrative logic.
这些理论在分析《瞬息全宇宙》的情感和叙事方面具有重要意义，为解读电影提供了多层次、互补的视角。Plantinga 和 Tan 的情感理论帮助我们理解这部电影如何通过视觉和叙事元素引发观众的情感反应，尤其是在表达家庭冲突与和解的情感过程中。这些理论有助于解释观众如何与角色产生深刻共鸣。谭对角色识别机制的关注和普兰丁格的“情感机器”理念都得到了电影使用快速视觉切换和复杂叙事框架来吸引观众参与的有力支持。Bordwell 的叙事分析理论也有助于理解电影复杂的叙事模式。需要一种严格的方法来理解 Everything Everywhere All At Once 的非线性叙事、频繁的视角切换和多层次的叙事设计如何引导观众的认知参与。Bordwell 的技术通过研究电影如何使用 syuzhet（情节）和风格来构建叙事逻辑，增强了观众在复杂叙事中的认知和情感参与。

Plantinga's and Tan's theories emphasize emotional engagement and character identification, while Bordwell's tend toward narrative and stylistic aspects. Together, they build a theoretical framework for how films combine emotional resonance with innovative narrative forms. For example, Plantinga and Tan were able to explain how the conflict and reconciliation between mother and daughter in the film can trigger empathy in the audience, while Bordwell's theory demonstrates how to simultaneously deepen emotional engagement and increase the audience's understanding of the film in the face of complex storytelling.While these theoretical frameworks are broadly applicable to film analysis, they do have limitations. Plantinga and Tan’s theories primarily deal with narrative films, which may be less applicable to experimental films such as Everything Everywhere All At Once. Similarly, Bordwell’s focus on traditional Hollywood narrative frameworks may overlook the more fragmented and non-linear narrative approaches found in modern films. However, by combining various ideas, this study attempts to address these shortcomings and provide a comprehensive analysis of the emotional and narrative dimensions of the film.
Plantinga 和 Tan 的理论强调情感参与和人物认同，而 Bordwell 的理论则倾向于叙事和风格方面。他们共同构建了一个理论框架，说明电影如何将情感共鸣与创新的叙事形式相结合。例如，Plantinga 和 Tan 能够解释电影中母女之间的冲突与和解如何引发观众的同理心，而 Bordwell 的理论则展示了在面对复杂的故事讲述时，如何同时加深情感参与并增加观众对电影的理解。虽然这些理论框架广泛适用于电影分析，但它们确实存在局限性。Plantinga 和 Tan 的理论主要涉及叙事电影，这可能不太适用于实验电影，例如 Everything Everywhere All At Once。同样，博德威尔对传统好莱坞叙事框架的关注可能忽视了现代电影中更加碎片化和非线性的叙事方法。然而，通过结合各种想法，本研究试图解决这些缺点，并对电影的情感和叙事维度进行全面分析。

By combining emotion theory and narrative analysis, this literature review lays a solid theoretical foundation for exploring the interaction between emotional narrative and innovative narrative techniques in the Everything Everywhere All At Once. These frameworks not only place the film in the context of a broader cinematic tradition, but also highlight its unique contributions to emotional and narrative cinema.
本文通过情感理论与叙事分析相结合，为探索《瞬息全宇宙》中情感叙事与创新叙事技巧之间的互动奠定了坚实的理论基础。这些框架不仅将电影置于更广泛的电影传统背景下，还突出了它对情感和叙事电影的独特贡献。

Case Study:
案例研究：

Everything Everywhere All at Once is a very innovative movie, taking in many elements of science fiction, comedy, and family drama. Suffice it to say, it has drawn huge attention for the newness of its narrative and the deep emotional thinking it touches upon. The multiverse is the core of the storyline—it symbolizes Evelyn's struggles and life choices. For example, 32 minutes into the film, Evelyn's multiverse travel scene changes 15 scenes in 5 seconds. Such quick cuts reflect tension and confusion while showing the richness of the multiverse. The film, assisted by such an interleaving with personal stories and science fiction, creates a non-linear narrative, adds great emotional depth, and is narratively innovative. In terms of worldwide critical reception, Everything Everywhere All at Once grossed many awards, including Best Picture, thus etching in stone its place within contemporary cinema. To sum it all up, Everything Everywhere All at Once is a really good case to explore how films can really ignite audience emotional resonance with elements from both visuals and narratives. This paper, therefore, will cover how the film has combined both visual techniques and narrative strategies to realize audience engagement at both emotive and cognitive levels through analyses of certain scenes in subsequent chapters.
Everything Everywhere All at Once 是一部非常创新的电影，融合了科幻小说、喜剧和家庭剧的许多元素。可以说，它因其叙事的新颖性和它所触及的深刻情感思考而引起了巨大的关注。多元宇宙是故事情节的核心——它象征着伊芙琳的挣扎和人生选择。例如，在电影开始 32 分钟后，Evelyn 的多元宇宙旅行场景在 5 秒内改变了 15 个场景。这样的快速剪辑反映了紧张和混乱，同时展示了多元宇宙的丰富性。这部电影在这种与个人故事和科幻小说交织的协助下，创造了非线性叙事，增加了极大的情感深度，并在叙事上具有创新性。就全球评论界的接受度而言，《瞬息全宇宙》获得了包括最佳影片在内的许多奖项，从而将它在当代电影中的地位刻在了石头上。总而言之，Everything Everywhere All at Once 是一个很好的案例，可以探索电影如何通过视觉和叙事元素真正点燃观众的情感共鸣。因此，本文将介绍电影如何结合视觉技术和叙事策略，通过分析后续章节中的某些场景，在情感和认知层面实现观众参与。

Figure 1: Evelyn's multiverse traversal. (Everything Everywhere All At Once, 2022,accessed from Netflix on 10 January 2025)
图 1：Evelyn 的多元宇宙穿越。（Everything Everywhere All At Once，2022 年，于 2025 年 1 月 10 日从 Netflix 访问）

Visual Style Analysis:
视觉样式分析：
In this part of the film "Stone Universe", Evelyn and her daughter Joy are embodied as two stationary stones in a desolate desert. This scene does not have any dialogue or dynamic elements, and only conveys emotions through the picture, showing the complex relationship and emotional exchange between the characters.
在电影《石头宇宙》的这一部分，伊芙琳和她的女儿乔伊被化身为荒凉沙漠中的两块石头。这个场景没有任何对话或动态元素，只通过画面传达情感，展现人物之间复杂的关系和情感交流。

Visual analysis:In this particular scene, a fixed shot is utilized and the frame stays still for a rather long time. This way of shooting forms a sharp contrast with the quick scene changes seen in other parts of the movie. As a result, it creates a calm and peaceful atmosphere. This strong visual contrast is quite significant. It leads the audience to pay closer attention to the special atmosphere of this very scene. In this way, when watching the film, viewers can more deeply engage themselves in the emotional state of the characters. Moreover, it offers an intuitive and solid visual basis for delving deeper into the emotional expression within the film. Just as Monaco mentions in "How to Read a Film: Movies, Media, and Beyond", fixed shots, due to their static composition and the continuous sense of time they maintain, are able to strengthen the audience's concentration on the emotional and narrative rhythms. Besides, they stand in contrast to dynamic shots, which further enriches the narrative and emotional depth of the scene (Monaco, 2009). 
可视化分析：在这个特定的场景中，使用了固定镜头，帧保持静止相当长的时间。这种拍摄方式与电影其他部分的快速场景变化形成鲜明对比。因此，它营造出一种平静祥和的氛围。这种强烈的视觉对比是相当显著的。它引导观众更加关注这一场景的特殊氛围。这样，观众在观看电影时，可以更深入地沉浸在角色的情感状态中。此外，它为更深入地研究电影中的情感表达提供了直观而坚实的视觉基础。正如摩纳哥在《如何阅读电影：电影、媒体及其他》中提到的那样，固定镜头由于其静态构图和它们保持的持续时间感，能够加强观众对情感和叙事节奏的关注。此外，它们与动态镜头形成鲜明对比，进一步丰富了场景的叙事和情感深度（摩纳哥，2009）。 

Use of color:The gray of the desert and the plain tones of the stone symbolize the coldness and alienation of the relationship between the characters, but also provide a pure space for emotional dialogue. The gray of the desert and the plain tones of the stone have certain symbolic meanings, which to a certain extent imply the coldness and alienation of the relationship between the characters. Such color matching also creates a relatively pure space for emotional dialogue between the characters. Color is often an important part of the visual language of a film. The emotional hints and atmosphere conveyed by color can help the audience to dig deep into the inner emotional entanglements of the characters and better understand the emotional world constructed by the film. As Bordwell and Thompson pointed out in "Film Art: An Introduction", color is not just a visual modification, it can also guide the audience to understand the depth of the relationship between the characters and the emotional dimension of the narrative through emotional visual signals (Bordwell & Thompson, 2013).
颜色使用：沙漠的灰色和石头的素色象征着人物之间关系的冷漠和疏离，但也为情感对话提供了一个纯粹的空间。沙漠的灰色和石头的平淡色调具有一定的象征意义，这在一定程度上暗示了人物之间关系的冷漠和疏离。这样的配色也为人物之间的情感对话创造了一个相对纯粹的空间。色彩通常是电影视觉语言的重要组成部分。色彩所传达的情感暗示和氛围，可以帮助观众深入挖掘人物内心的情感纠葛，更好地理解电影构建的情感世界。正如博德威尔和汤普森在《电影艺术：导论》中指出的那样，色彩不仅仅是一种视觉上的修饰，它还可以通过情感视觉信号引导观众理解角色之间关系的深度和叙事的情感维度（博德威尔和汤普森，2013）。

Subtitles and scenes:In this scene without sound, the film uses subtitles to present the conversation between mother and daughter. This unique way of expression plays an important role, allowing the audience to focus more on the essential connotation of emotions, rather than relying solely on the actors' performances or sound effects to experience emotions. From the perspective of academic research, this presentation method helps guide the audience to think more actively and deeply understand the core of the emotional communication between the characters, thereby further strengthening the audience's understanding and grasp of the film at the emotional level. As Elsaesser and Hagener pointed out in Film Theory: An Introduction Through the Senses, the combination of visuals and text can mobilize the audience's emotions through the sensory level, making them more focused on the emotional interaction between the characters, thereby achieving a deeper emotional experience (Elsaesser & Hagener, 2015).
字幕和场景：在这个没有声音的场景中，电影用字幕来呈现母女之间的对话。这种独特的表达方式起着重要的作用，让观众更多地关注情感的本质内涵，而不是仅仅依靠演员的表演或音效来体验情感。从学术研究的角度来看，这种呈现方式有助于引导观众更积极地思考，更深入地理解人物之间情感交流的核心，从而进一步加强观众在情感层面对电影的理解和把握。正如Elsaesser和Hagener在《电影理论：感官介绍》中指出的那样，视觉和文字的结合可以通过感官层面调动观众的情感，使他们更加专注于角色之间的情感互动，从而达到更深层次的情感体验（Elsaesser & Hagener，2015）。

As explained by Tan and Visch (2018), the mechanism of "joint imagination", by virtue of the comprehensive application of visual elements and narrative techniques, can introduce the audience into the fictional world constructed by the film, thus creating emotional resonance between the audience and the characters. In the specific scene of "Stone Universe", the minimalist visual expression subtly and effectively highlights the emotional communication in the relationship between mother and daughter, and creates a deep and emotional flow atmosphere through the static picture, providing the audience with a unique perspective and entry point for in-depth insight into the emotional world of the characters in the film. This is an important reference value for exploring the intrinsic relationship between visual art and emotional expression in films.
正如 Tan 和 Visch （2018） 所解释的那样，“联合想象”的机制，凭借视觉元素和叙事技巧的综合应用，可以将观众引入电影构建的虚构世界，从而在观众和角色之间产生情感共鸣。在《石头宇宙》的具体场景中，极简主义的视觉表达巧妙而有效地突出了母女关系中的情感交流，并通过静态画面营造出深沉而情感流动的氛围，为观众提供了深入洞察片中人物情感世界的独特视角和切入点。这是探索电影中视觉艺术与情感表达之间内在关系的重要参考价值。

Figure 2: Evelyn and Joy in the "Stone Universe," symbolizing emotional isolation. (Everything Everywhere All At Once, 2022,accessed from Netflix on 10 January 2025)
图 2：Evelyn 和 Joy 在“Stone Universe”中，象征着情感上的孤立。 （Everything Everywhere All At Once，2022 年，于 2025 年 1 月 10 日从 Netflix 访问）

Emotional Narrative Analysis:
情感叙事分析：

The emotional narrative in Everything Everywhere All at Once is powerful and focused on the emotional journey of Evelyn from conflict to reconciliation with her family; it is the heart of the movie's emotional drive and resonates deeply with viewers through its gentle portrayal. In this clip of mother-daughter confrontation, Evelyn and Joy face off at the pinnacle of the universe, reaching the height of their emotional tension. Joy confided that her life was consumed by emptiness, while Evelyn tried to heal the emotional rift.
Everything Everywhere All at Once 中的情感叙事很有力量，专注于 Evelyn 从冲突到与家人和解的情感历程;它是电影情感驱动力的核心，通过其温柔的刻画与观众产生深刻共鸣。在这段母女对峙的片段中，伊芙琳和乔伊在宇宙的巅峰对峙，达到了情感紧张的顶峰。乔伊坦白，她的生活被空虚吞噬了，而伊芙琳则试图弥合情感上的裂痕。
Emotional detail analysis:
情感细节分析：
Lens language:
镜头语言：
In Joy's close-up: Joy monologue, the close-up focuses on the face, showing her confused eyes and pain, the background is blurred to highlight loneliness, and the cold tone lighting renders the cold atmosphere, making the audience deeply feel her despair.
在《乔伊的特写：乔伊独白》中，特写聚焦在脸上，展现她迷茫的眼神和痛苦，背景模糊突出孤独，冷色调灯光渲染冰冷的气氛，让观众深深感受到她的绝望。

In Evelyn's close-up: Evelyn's way of conveying helplessness and longing for reconciliation shows her mother's ambivalence in the face of family rifts by means of contrast of light and shade, evocative of inner battle, so amplifying difficult feelings.
在伊芙琳的特写镜头中：伊芙琳传达无奈和和解渴望的方式，通过光影的对比，展现了母亲面对家庭裂痕时的矛盾心理，唤起了内心的斗争，从而放大了艰难的感情。

As Lakra (2024) points out, the mechanism of “emotional and psychological engagement” encourages the audience to establish an emotional connection with the characters. Through this mechanism, the film successfully guides the audience into the psychological world of the characters.
正如 Lakra （2024） 指出的那样，“情感和心理参与”的机制鼓励观众与角色建立情感联系。通过这种机制，电影成功地将观众引导进入人物的心理世界。

Sound coordination:
声音协调：
Deep background music: The background music begins with low tones and progressively increases in volume and rhythm, mirroring the developing emotional strain. The addition of strings adds to the intensity of Joy's emotional collapse. According to Buhler, Neumeyer, and Deemer (2010), music in films has a direct impact on emotional responses and heightens narrative suspense. The film's music powerfully strengthens the audience's connection to the mother-daughter conflict.
深沉的背景音乐：背景音乐以低沉的音调开始，音量和节奏逐渐增加，反映了不断发展的情绪压力。弦乐的加入增加了 Joy 情绪崩溃的强度。根据 Buhler、Neumeyer 和 Deemer （2010） 的说法，电影中的音乐对情绪反应有直接影响，并增加了叙事悬念。这部电影的音乐有力地加强了观众与母女冲突的联系。

Musical transition during reconciliation: As Evelyn tries to grasp Joy's hand and express understanding, the music shifts to a soft melody, symbolizing the relaxation of their relationship. This change in music is complemented by the visual language, which together conveys the emotional transformation of the mother-daughter relationship from confrontation to reconciliation. As Kassabian said in the Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music points out that music is not only an auxiliary tool for narration in movies, but also changes through emotion. Guide the audience's identification and emotional resonance with the character relationship (Kassabian, 2002). Through the synergistic effect of music and vision, the film further enhances the audience's understanding and investment in the emotional restoration of mother and daughter.
对账期间的音乐过渡：当伊芙琳试图抓住乔伊的手并表达理解时，音乐转变为柔和的旋律，象征着他们关系的放松。这种音乐的变化与视觉语言相辅相成，共同传达了母女关系从对抗到和解的情感转变。正如 Kassabian 在《听觉电影：当代好莱坞电影中的追踪身份》中所说，音乐不仅是电影中叙事的辅助工具，还可以通过情感来改变。引导观众对角色关系的认同和情感共鸣（Kassabian，2002）。影片通过音乐与视觉的协同效应，进一步增强了观众对母女情感修复的理解和投入。

Winkler et al. (2023) mentioned: "Music and narrative cues contribute to emotional engagement by enhancing the shifts between emotional highs and lows"The movie develops its emotional tension and repair process into a subtle presentation through camera language and sound effects. Whether it's the inner turmoil of the characters being presented through visual elements or the state of emotional changes through the layered changes in the music, those techniques draw the audience deeply into the emotional world of the characters.
Winkler 等人（2023 年）提到：“音乐和叙事线索通过增强情绪高潮和低谷之间的变化来促进情感参与”这部电影通过镜头语言和音效将其情绪紧张和修复过程发展成微妙的呈现。无论是通过视觉元素呈现角色内心的动荡，还是通过音乐的层次变化呈现的情感变化状态，这些技巧都将观众深深地吸引到角色的情感世界中。

Figure 3: Emotional tension and reconciliation between Evelyn and Joy. (Everything Everywhere All At Once, 2022,accessed from Netflix on 10 January 2025)
图 3：Evelyn 和 Joy 之间的情感紧张与和解。 （Everything Everywhere All At Once，2022 年，于 2025 年 1 月 10 日从 Netflix 访问）

Analysis of the interaction between narrative and emotion:
叙事与情感互动分析：
The film cleverly combines narrative structure and visual style to achieve a balance between emotional expression and narrative complexity. The film promotes the plot through non-linear narrative and frequent perspective switching, and deepens the audience's understanding of the fate of the characters and the theme.
影片巧妙地将叙事结构和视觉风格相结合，实现了情感表达和叙事复杂性之间的平衡。影片通过非线性叙事和频繁的视角切换来推动剧情发展，加深了观众对人物命运和主题的理解。
In the middle of the film, Evelyn witnesses the different fates of Joy in multiple parallel universes. In one universe, Joy becomes a villain and tries to destroy everything; in another universe, she is alone and helpless. These plots enhance the emotional tension of the mother-daughter relationship through rapid switching and contrast. Non-linear narrative helps the audience perceive Joy's anger, loneliness and pain, and presents her psychological struggle and emotional complexity in a more three-dimensional way. The film interweaves the theme of mother-daughter relationship and multi-universe salvation through "syuzhet" (plot), allowing the audience to understand the character choices and resonate with emotions.
在影片的中间，伊芙琳见证了乔伊在多个平行宇宙中的不同命运。在一个宇宙中，乔伊变成了一个恶棍，试图摧毁一切;在另一个宇宙中，她孤身一人，无助。这些情节通过快速切换和对比增强了母女关系的情感张力。非线性叙事帮助观众感知 Joy 的愤怒、孤独和痛苦，并以更立体的方式呈现她的心理挣扎和情感复杂性。影片通过“syuzhet”（剧情）交织母女情谊和多宇宙救赎的主题，让观众理解角色选择，与情感产生共鸣。

Figure 4: Emotional tension and narrative contrast in Joy's parallel realities. (Everything Everywhere All At Once, 2022,accessed from Netflix on 10 January 2025)
图 4：Joy 平行现实中的情感紧张和叙事对比。（Everything Everywhere All At Once，2022 年，于 2025 年 1 月 10 日从 Netflix 访问）

In terms of visual expression, a pivotal sequence in the film is Evelyn witnessing Joy's loneliness and suffering across several realities. This scene joins Joy in many realms using rapid switching and multiple exposures, revealing her severe loneliness. The frigid light and blurred background combine to create a sad visual ambiance. Evelyn's perspective shows her gradual understanding of Joy's situation through follow-up shots, and the soft light gradually penetrates, suggesting her emotional transformation of accepting her daughter and trying to repair the relationship. This contrast allows the audience to more deeply feel the complexity of the mother-daughter relationship and the process of gradual reconciliation.
在视觉表达方面，影片中的一个关键片段是伊芙琳在几个现实中目睹了乔伊的孤独和痛苦。这一幕通过快速切换和多重曝光在许多领域加入了 Joy，揭示了她严重的孤独。寒冷的光线和模糊的背景相结合，营造出一种悲伤的视觉氛围。伊芙琳的视角，透过后续镜头，展现她对乔伊处境的逐渐理解，柔和的光线逐渐穿透，暗示她接受女儿、努力修复关系的情感转变。这种反差让观众更深刻地感受到母女关系的复杂性和逐渐和解的过程。
As Bordwell's narrative analysis theory emphasizes, the complex narrative structure guides the audience to understand the film at the logical and emotional level through the organization of syuzhet. The combination of visuals and narratives also strengthens the audience's emotional resonance. Through the dual combination of narrative and visuals, the film shows the emotional restoration of the mother-daughter relationship, while allowing the audience to feel the interaction between narrative complexity and emotional expression, which provides strong support for the film's emotional depth and narrative art. As Jenkins (2006) discussed in "Convergence Culture", this combination of narrative and visuals shows how modern media can transcend traditional narrative models and invite audience participation through rich content, thereby creating a deeper emotional experience.
正如博德威尔的叙事分析理论所强调的那样，复杂的叙事结构通过叙述的组织引导观众在逻辑和情感层面理解电影。视觉与叙事的结合，也加强了观众的情感共鸣。影片通过叙事与视觉的双重结合，展现了母女关系的情感还原，同时让观众感受到叙事复杂性与情感表达之间的互动，为影片的情感深度和叙事艺术提供了有力支撑。正如 Jenkins （2006） 在《融合文化》中所讨论的那样，这种叙事和视觉的结合展示了现代媒体如何超越传统的叙事模式，通过丰富的内容邀请观众参与，从而创造更深层次的情感体验。

Figure 5: Evelyn comes to understand Joey in the multiverse. (Everything Everywhere All At Once, 2022,accessed from Netflix on 10 January 2025)
图 5：Evelyn 开始理解多元宇宙中的 Joey。（Everything Everywhere All At Once，2022 年，于 2025 年 1 月 10 日从 Netflix 访问）

Conclusion:
结论：

Everything Everywhere All At Once, through its unique blend of visual style and nonlinear storytelling, shows the complexity in family relationships and deep emotions. Fast-paced editing, symbolic colors, and intense emotional performances not only convey the wealth of the multiverse but also allow a reflection of deeper meanings about choices between personal and family reconciliations. In its own special way, this manages to create a balance of being both narratively complex and emotionally resonant—something rather rare to see in a piece of work.
通过其视觉风格和非线性叙事的独特融合，展示了家庭关系的复杂性和深厚的情感。快节奏的剪辑、象征性的色彩和强烈的情感表演不仅传达了多元宇宙的财富，还反映了关于个人和家庭和解之间选择的更深层次含义。这以自己独特的方式成功地在叙事复杂性和情感共鸣之间创造了一种平衡——这在作品中是相当罕见的。
Some scenes, like the traversal Evelyn undergoes with her husband in the multiverse or "Stone Universe," work to ramp up the tension of the moment through visual and narrative elements: fast-paced cuts denote anxiety and panic; cold, symbolic colors express a visual explanation for the freeze frame of the relationship between mother and daughter, ultimately thawing to reconciliation. Interlocking with the personal tales in this science fiction creates storytelling on another level and deeper emotions than those commonly found in conventional stories.
有些场景，比如伊芙琳和她的丈夫在多元宇宙或“石头宇宙”中经历的穿越，通过视觉和叙事元素来增加当下的紧张感：快节奏的剪辑表示焦虑和恐慌;冰冷、象征性的色彩表达了对母女关系定格的视觉解释，最终解冻为和解。与这部科幻小说中的个人故事交织在一起，创造了比传统故事中常见的另一个层次和更深层次的故事讲述和更深的情感。
Actually, the present research deals with the question of how
实际上，本研究涉及的问题是Everything Everywhere All At Once enhances audience emotional resonance and narrative understanding through visual style and emotional storytelling. In conclusion, through its fresh visual expressions and narrative strategies, this movie drags viewers into the depths of emotionality and thematics that the storyline entails. As discussed by Ryan in Narrative as Virtual Reality, these non-linear narrative structures and interactive structures invite the audience into the storyworld, where they achieve immersion and engage emotionally with the events
通过视觉风格和情感叙事增强观众的情感共鸣和叙事理解。总之，这部电影通过其新鲜的视觉表达和叙事策略，将观众拖入故事情节所包含的情感和主题的深处。正如 Ryan 在 Narrative as Virtual Reality 中所讨论的那样，这些非线性叙事结构和互动结构邀请观众进入故事世界，在那里他们实现沉浸感并在情感上参与事件(Ryan, 20
瑞安，20 岁15).
Looking forward to the future, follow-up research can focus on two directions. On the one hand, focus on the audience's interpretation process of complex narrative structures, and explore in depth how the audience obtains information, understands the plot, and constructs a meaning system from a complex story structure. On the other hand, focus on exploring the symbolic meaning of multiverse narratives at the cultural and emotional levels, and explore the cultural metaphors, values and
展望未来，后续研究可以集中在两个方向。一方面，聚焦观众对复杂叙事结构的解读过程，深入探讨观众如何从复杂的故事结构中获取信息、理解情节、构建意义系统。另一方面，专注于在文化和情感层面探索多元宇宙叙事的象征意义，探索文化隐喻、价值观和 emotional mappings behind them. Through research in these two directions, it is expected to further expand our cognitive boundaries of visual narratives and provide more abundant theoretical support and practical guidance for its application in different fields.
他们身后的情感映射。通过这两个方向的研究，有望进一步拓展我们对视觉叙事的认知边界，为其在不同领域的应用提供更丰富的理论支持和实践指导。

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