Race and Otherness


Race and Otherness


Anderson is one of a select few directors who legitimately appears to be an expert cinematic author. Anderson have has created cinematic images using chromatic, cinematographic and narrative devices to good effect. The author of Royal Tenenbaums has built up racial and otherness structures which are based on color, space, and bodies. How he depict race and otherness, have made earned him the title of a chromatic predominant author that is illustrative of the Western world by how he looks at the white bodies. This paper will examine how race and otherness are presented and constructed through various forms of media in Royal Tenenbaums film.

The Royal Tenenbaums recounts the narrative of a disunited family attempting to reconnect. Royal Tenenbaum’s movie theme addresses the possibility of internal peace both separately and with the general population that encompasses them. The cinematography is an essential film technique that Anderson has used in helping know and identify with the film characters. Most shots are medium shots concentrating on one individual character, or full shots including various individuals. The medium shots are regularly frontal shots with the subjects set right in the center. Subsequently, the center is attracted to the person in the edge, making one give careful consideration to what they are doing or how they are acting.

One of the most apparent examples of race and otherness in Royal Tenenbaums is by Examining film use of color in which these biased pairs are set up chromatically, and how the development and transference of shading show racial power. One noteworthy typical scene was the point at which Sara Ahmed’s A Phenomenology of Whiteness looks at the courses in which white bodies travel through time and space, and how this contrasts from dark bodies. It is important to understand that it despite the fact that they don’t appear like white bodies physically they move speedier or more grounded than dark bodies. Therefore this is a greater amount of a full of feeling contention, which contends that white bodies do move all the more quickly (Davies, 2013). The author takes note of that the fear of color additionally shows itself in separation and apprehension of color, which asks a correlation with a viral substance which should be isolated. This development of color as an indication of otherness implies that all types of the other; has been characterized by more chromophilic expression (Akito, 2006).

Another example of race and otherness in Royal Tenenbaums is the scene where Henry is depicted as the racialists other, alongside Pagoda. In this typical scene, his romantic advances on Etheline position him as the racial other, as well as the risk to regularity and whiteness, a potential pollution to Royal’s atomic family and the bright picture of whiteness (Akito, 2006). In that case this makes the conflict amongst Royal and Henry much additionally charming, because as Henry capacities as the chromatic and dark attack in the white bodies, Royal likewise works as somebody who is utilizing shading to endeavor to absorb once more into the Tenenbaum family. He starts to wear pink and red under his dark or chestnut coat, and uses chromatic movements as a method of digestion. This technique for osmosis is just made conceivable as a result of the pink jeans of Pagoda and the pink and red Tenenbaum house.

Another illustration is how The Royal Tenenbaums spots the focal character, Royal, as a fallen legend, somebody who from his positions of benefit and fights for a reviving of the familial connections that he once lost. At first, flashback arrangements position Royal as the pioneer of the family, somebody who wears customarily shaded suits, works for the legislature and is fiscally steady. His racial, sexual orientation and class benefit permit him flexibilities that minimized individuals don’t, and his atomic familial structure and lavish method for a living are a case of these opportunities being worked out (Martin, 2014).

Additionally, the chromatic transference of otherness from collections of shading to white bodies is delineated in the Royal Tenenbaums as a procedure, something that happens progressively all through different arrangements in the film. To start with, Royal is introduced as a prevailing white, hetero male body, somebody who sets up control of the space and uses monochromatic dress to express this power. His high contrast tuxedos and dark coats and shirts position him as the chromatic overwhelming element. Interestingly, characters, for example, Pagoda and Henry are exhibited as chromatic others, assemblages of shading which additionally have chromophilic garments plans which further positions them as the racial Other(Glove,2012).

Another illustration of how the theme of race and otherness is illustrated is through the adjustments in Royal’s attire as his account changes. For instance, when he turns into the familial outcast, the white body, all of a sudden starts, wearing more chromophilic styles of garments, for example, pink undershirts, pink jeans, lastly, multi-hued robes with pink jeans (Dean-Ruzicka, 2013).Another illustration of race and otherness is seen in the investigations of space and bodies by Ahmed. In this case, Royal has turned into the other through chromatic movements and spatial intermittency. As space gets to be outside because of his nonattendance and the development in the relationship between the family and Henry, Royal’s garments get to be chromophilic and make a different impact in the film (Seitz, 2013).


This paper has looked at how race and otherness are shown through various forms of media in Royal Tenenbaums film. Through this examination of the transference of racial otherness through chromatic expression, we can break down the courses in which film style and shading can arrange racial governmental issues flawlessly, and position otherness without alluding to skin shading unequivocally. Looking at these undetectable techniques for strengthening racial pecking orders can stop the stream of bigotry and viciousness. This is because once race turns out to be less about bodies and more about style and color.


Akito, K. (2006). Orientalism and the binary of fact and fiction in Memoirs of a Geisha. Global Media Journal, 5(9), 1-22.

Davies, J., & Smith, C. R. (2013). Gender, ethnicity, and sexuality in contemporary American film. Routledge.

Dean-Ruzicka, R. (2013). Themes of privilege and whiteness in the films of Wes Anderson. Quarterly Review of Film and Video, 30(1), 25-40.

Glover, D. (2012). The Royal Tenenbaums. The Gwyneth Paltrow Handbook-Everything you need to know about Gwyneth Paltrow, 99.

Martin, R. F. (2014). The Evolution of Wes Anderson’s Cinematography. Film Matters, 5(2), 63- 65.

Seitz, M. Z. (2013). The Wes Anderson Collection (pp. 22-23). Abrams.