
Originally Posted by
Triceron
Through the use of an appropriate setting.
I've given examples before using Throne of Blood as an extreme example.
Throne of Blood is an adaptation of Macbeth with an all-Japanese cast. To make sense of this, the setting takes place in Feudal Japan, centering on historic culture as a backdrop for the story of Macbeth. Yet it would be a vastly different situation if the adaptation of Macbeth continued to remain in medieval Scotland, with all the Scottish culture and clothing intact, with an all-Japanese cast being race swapped into the story. It's a VASTLY different scenario. We can argue that the story of Macbeth would be exactly the same, but the disparate setting throws off our monkey brains when trying to understand what is actually being depicted here.
I'm not opposed to there being a Japanese actor in place of an adaptation of Macbeth, but that creative choice ultimately informs what kind of production it is. Is it meant to be a contemporary production that depicts the setting as a modern melting pot? Is it trying to represent some historic minority of Japanese people who migrated to Scotland in the 1100's? Is it simply doing it out of some diversity policy by the production company? These are all things that end up informing us what it means to identify 'culture' in the setting we're seeing.
When analyzing Rings of Power's creative decisions, it's clear that it is merely depicting fictional races as a reflection of our own modern melting pot social expectations. There's little more to it than that. The arguments against Tolkien writing skin tones is bunk. Even if he wasn't clear on Dwarven skin tones, he was clear on Elven ones being 'fair skin', and that doesn't explain why there are black Elves or Harfoots either. The choice has been a creative one across the board, not for the sake of the setting but for the sake of 'progressive' depictions of a diverse melting pot for all fictional races.
Having a wide spread of skin tones is jarring for the same reason that our brains tend to manifest a character as being 'white' when we read a novel, until we are given descriptions that say otherwise. It's a deeply psychological phenomenon. Anecdotally speaking, most people in these forums imagine that I am a white male even if I never identified my ethnicity. Same shit. It's all about expectations.
As for the culture parsing, it's the idea that skin tones denote different groups of peoples coming from different places. In a visual medium like film, this should be used to inform the audience of the setting. Having people of a small village be of the same skin tone is purposeful to showing how isolated their culture is. Having it diverse would give the opposite effect - it implies there are many migrants to this location, enough to sustain a diverse range of skin tones. Otherwise, biologically speaking, over generations everyone in the village should end up being a certain shade of 'brown' over time. We identify human and fictional humanoids under this basic understanding of biology. That's how our monkey brains operate. We don't idenify Humans having the genetic nature of Cats, where skin tones can skip a generation or two and manifest itself in full. And we project these same expectations onto fictional humanoid races, especially those that are being depicted by skin tones similar to our own.
When I see a show with a small village have a diverse melting pot, it doesn't tell me they're all of the same culture for generations. It tells me there exists many different people from far away places travelling to settle in the same place, and being accepted as a part of the village. There is a history there that's being implied, but not told. And yet when the depictions expect this to be normal across the board for all types of places, then it's not actually bridging in new ideas, it's muddling it all instead. Every biome has the same level of diversity. This doesn't make sense. This takes me out of the fantasy world, because it doesn't make sense in its own setting. Like the Harfoots - they should all relatively look the same because what we're being shown is a depiction of a small nomadic group that has chosen to isolate itself from all other like-races. They are not travellers who openly interact with other Halfling races. They do not engage in open trade. So how is their skin tone manifesting in such diverse tones despite being of one big 'family'? It doesn't make sense to my monkey brains. All the while, I can take a look at the depiction of the Shire and see all the Hobbits all look like each other, and my brain immediately clicks with it because that's what I'd expect out of a village that has chosen to be isolated from the outside world for a span of generations. This makes sense.
And as we question more and more about the subtext, and how it is jarring to our monkey brain expectations of how social structures should work, it just becomes more apparant that these creative choices aren't made for the sake of the setting, but for the sake of modernizing social expectations and being 'progressive'. And I think that's a problem, because it ignores and erases the meaning of diversity in the first place.
And I'll point to how Game of Thrones did it well by having most locations be depicted by certain ethnicities, and retaining a diverse melting pot society for cities where it makes sense, like Qarth. Or having the Dothraki be played by people of a certain skin tone, to make a character like Danaerys stand out amongst them. These situations work very well for both the setting and for the show. There are very prominent black actors in Game of Thrones, they just appear in the setting where they are best introduced, not just scattered in Winterfell and Kings Landing and as Wildlings. It is appropriate to the setting of the fictional universe.