ORIENTALISM

Vincent, Shannon, Oliver, Ted and Molly

INTRODUCTION
Orientalism

Set Design

Indoor

Outdoor

Orientalism within the character of Kanchi

The Young General

WHAT IS ORIENTALISM?

"Orientalism is a way of seeing that imagines, emphasizes, exaggerates and distorts

differences of the Asian cultures compared to that of Europe and the U.S. It often
involves seeing Arab culture as exotic, backward, uncivilized, and at times dangerous.”
Edward W
WHERE DID THE TERM COME FROM?
Orientalism dates back to the period of European colonization of the Arab world.

Orientalism provided a rationalization for European colonialism based on a self-serving history

in which “the West” constructed “the East” as extremely different and inferior, and therefore in
need of Western intervention or “rescue”.

Examples of early Orientalism can be seen in European paintings and photographs and also in
images from the World’s Fair in the U.S. in the 19th and early 20th centuries.

The paintings, created by European artists of the 19th and early 20th centuries, depict the Arab
World as an exotic and mysterious place of sand, harems and belly dancers, reflecting a long
history of Orientalist fantasies which have continued to permeate our contemporary popular
culture.
SET DESIGN - INTERIOR
did not shoot on location in India - Pinewood studios, UK

combination of models and matte paintings

“fairytale“ India

British painter Walter Percy Day in nearly every shot Fig 1 - The General

“We decided to do the whole thing in the studio and that's the way we managed to
maintain colour control to the very end. Sometimes in a film its theme or its colour are
more important than the plot.“ (Powell, n/a)
BACKGROUNDS
many are enlarged black and white photographs which were painted in pastel chalks

gave the film a exotic coloring

Jack Cardiff was a great admirer of 17th century Dutch painter Vermeer and created the
color palette and lighting to evoke the sense of a fine painting

Fig 2 - Bedroom black and white Fig 3 - Bedroom coloured Fig 4 - “Girl With a Pearl Earring“
WALL PAINTINGS
“It looks to have been
Paintings of naked women are on the walls
a stately pleasure
dome right out of
"the House of Women“ renamed to “the Convent of St. Faith“ Coleridge's most vivid
opium dreams“
represents the old-fashioned orientalism
(Dessem, 2009)

Fig 5 + 6 wall paintings in the movie Fig 7 Indian Painting from 1550
WALL PAINTINGS
abstract walls of the central chamber are even more entrancing
“Its lush blue
frescoes take the
representation of the Hindu god Ishvara power of the
Himalayan
Contrast to their Calcutta convent (no paintings, bare white walls) exterior and
morph it into a
floral delirium“

(Walber, 2016)

Fig 8 central chamber Fig 9 Calcutta convent

FURNITURE

objective representation of India

chairs, lanterns, window frames, doors

ornaments - carved, painted

colourful, playful / traditional

Fig 10 - concept drawing by Alfred Junge Fig 11 - Still from the movie
THE OUTDOORS
Throughout the film the theme of orientalism plays a part in the films outside set
design, from the sloped roofs of Mopu Palace to the vibrant forests below the
mountain peaks.

Throughout the film the designs and appearance of the eastern world looks and feels
more exotic and vivid compared to the more plain and muted colour palette of the
western world. There is an exoticism in the presentation of the east and the book,
Black Narcissus by Sarah Street noted that ‘Colour in particular is associated with the
East and losing control, with vivid rhododendrons and azaleas being shown on many
occasions’ (Street, 2005).

This is evidenced by how the Hindu and eastern characters are dressed in more
extravagant colours than the nuns, and the lush, exquisite vegetation seen
throughout the film connoting an exotic place, connoting more powerful and sensual Fig. 12 - Still from the film,
emotions. It is also suggests the exaggerated exoticism that orientalism historically showing lush, vibrant
promoted in the west - it implies that there is something vastly different from the
western world. vegetation
THE BACKGROUNDS
Many of the films backgrounds were large glass matte
paintings, having been built as to facilitate the Himalayan
setting. Like the tropical outdoor sets with their flamboyant
colour, the monolithic artistic pieces connote the exoticism of
the east that orientalism boasts. The hazy texture suggests an
almost dreamlike-quality to them, making the foreign land of the
film one of fantasy – unreal by the standards of the west.

In his review of the film, Mark Kermode points out the

seemingly fantastical and illustrious design of the monumental Fig. 13 - Still from the film,
back drops: “impressionist areas of colour, creating a wholly showing the matte painting
artificial and enduringly magical backdrop” (Mark Kermode, background
2016).
MOPU PALACE
The man-made structures seen throughout the film are suggestive of the
exaggerated caricatures of Eastern and oriental culture just as much, if not more
so, than the fantastical natural world. There is a estranged blur of eastern
cultures – hindu and east Asian, muddied by years and years of colonialism
represented by the films main setting: Mopu Palace. It has the signature sloped,
concave roofs often, in the eyes of western audiences, are associated with the
orient. And yet, the film heavily implies that film’s setting is located near India
with a culture distinct from that of East Asia.

This hazy representation of foreign architecture and style is indicative of the

eschewed romanticism promoted by Orientalism. In an article for Khan Academy,
Nancy Demerdash explains the muddied representation and exoticism caused by Fig. 14 - Shot of Mopu Palace
Orientalism. “Orientalism constructs cultural, spatial, and visual mythologies and
stereotypes that are often connected to the geopolitical ideologies of
governments and institutions”, “these mythologies has impacted the formation of
knowledge and the process of knowledge production” (Demerdash, 2014).
ORIENTALISM WITHIN THE CHARACTER OF
KANCHI
What is a Ottoman Harem?

The term harem is usually associated with the depiction of a large group of beautiful women, whose purpose is to serve and please
their captor sexually. However, the harems during this time period were much more than that. Between 1299 and 1920, the sultans
harem consisted of wives, servants (male and female), female relatives and concubines. Not only did the women serve to entertain,
but they ran the household and had a hand in governing the Ottoman empire. Often referred as the ”Reign of Women”, as they
played an important role within the Ottoman government, it lead them to gain more power than they had prior. (V. Parkes. (2017))

“The obsession with breaching this particular cultural barrier became one of the defining
features of European interaction with the Middle East, leading to a rich production of visual art
and textual narratives that imagined in vivid yet inaccurate detail, the forbidden mysteries of
the harem” T. Herath, (2016)

Edward Said, who coined the expression ‘Orientalism’ when creating his book ‘Orientalism’ (E.
Said 1978), notes the highly sexualized depiction of women within orientalist narratives.

“[creatures] of a male power fantasy. They express unlimited sexuality, they are more or less
stupid, and above all they are willing.” A. Mohd Ramli (2011)

This can be seen within the film Black Narcissus (1947) , which showcases exotic murals of
oriental women.

Figure 1 Exotic murals of concubines in the film Black Narcissus (1947)M. Dessem. (2009).
ORIENTALISM WITHIN THE CHARACTER OF
KANCHI
Kanchi depicts racialized desire within the film. She shares physical similarities to the women
depicted with the murals around the place. These images reinforce how primitive the natives of the
place are as they reduce the women to sexual objects.

Upon first introduction within the film, Kanchi is brought in with exotic orientalist music. Highlighting
her as an outlandish symbol of sexual desire within the film, that has so far centered around the nuns.

“Physical similarity
to the women in
the erotic
paintings” (S. Street
(2005))

Figure 2 Jean Simmons as Kanchi in 'Black

Figure 1 Exotic murals of concubines in the film Black Narcissus (1947)M. Dessem. (2009).
Narcissus', 1947 - Directed (2018)
ORIENTALISM WITHIN THE CHARACTER OF
KANCHI
Due to what the character of Kanchi symbolizes there is a huge contrast between the nuns and
her.

The young Indian girl who brings the world, the flesh and the devil, into the nuns ‘retreat’” (S.
Street (2005))
Kanchi’s costume heavily contrasts the white attire of the nuns, with the bold exotic colours, solidifying the exotic
stereotype.

This is also evident in skin colors, as the nuns are pure and white. While Kanchi is dark and lustful. (Sdegruyt.
(2009))

Both are polar opposites; East/West, Sexual/Virginal. However in this scene (see fig 4) seem to mirror each other.

“However, it should be noted that such a foreign

looking character was played by Jean Simmons
, an English actress. The use of a primarily
Caucasian cast, symbolizes how Kanchi’s
character has no economic or political power,
this glamorised role was over played by a
woman.” (Sdegruyt. (2009))

Figure 4 Mirroring each other [Still] (1947) Figure 3 Sister Clodagh and Kanchi
THE YOUNG GENERAL: AN OBJECT OF DESIRE
His next appearance is when catching the eye of Kanchi, and although he leaves a large “While there is every attempt to treat
impression on her, he barely seems to notice her. the young General and Kanchi as if
they were like the other students, they
He constantly draws the attention of the young women at the convent away from their are marked by their costumes as
studies different, more exotic, more distracting
for the nuns and thus able to usurp
Wherever the general goes he is always announced by the ringing of bells on his horse. them as a focus of fascination at
Mopu.” - Street, S (2005)
Unlike the other students, is sat upon a chair and raised above all but the teacher.

No matter what he does it seems to draw the attention of either the nuns or the other
students at the convent.

Even the film’s title “Black Narcissus” comes from him, talking about the perfume he wears
from the London Army Navy Stores (A group in serious financial trouble at the time the film
was made, and so not exactly “high society”). “Don’t you think it’s rather common to smell
of ourselves”

Fig 1, Black Narcissus, 1947

A CATALYST FOR CHANGE
Throughout the film there is a constant war between the “Old Oriental Way” and the “New Anglican Way”.

His first act upon the convent is to try and change the “Status Quo”, while Convents don’t take in young men he convinces
Sister Clodagh to accept him citing “Jesus Christ was a man” and “You don’t need to treat me as a man”.

The Young General is never given a name, instead he holds only a title. A miliary one, because no matter what he might say or
feel he is an invader, and an outsider. He is not wanted by the nuns but he uses his power and the influence of his uncle (The
Holy Man) to intrude.

By intruding on a house of god, the Young General has in some ways turned it back to its former purpose and made his own
house where women follow his every word.

At one point he wears emeralds and kicks Sister Clodagh into another flashback, once again causing her to question her
actions.

He is, at least in some part, the cause for St. Faith’s downfall. By accepting him the convent had betrayed its own rules and
started its demise.
FALLING PREY TO DESIRE
“Still, I expect you know the story of the Prince and the Beggar
Maid” - Mr Dean, Black Narcissus

“...[The Old General] wants the people to be educated by

Westerners, an attitude shared by the young General who, until
he runs off with Kanich, has ambitions to go to Cambridge,
appreciates Western fashions and declares that his is ‘very
much interested in Jesus Christ’.” - Street, S (2005)

Fig 2, Black Narcissus, 1947 Fig 3, King Cophetua and the Beggar Maid, Burne-Jones, E
CONCLUSION
Eastern mysticism is represented in the set design by the backgrounds, wall paintings and furniture
which supports the exotic atmosphere

The film appears to demonstrate the romanticism and exoticism that Orientalism adheres to, in doing
so it suggests the cultural and historical impact of such eschewed views of the East and foreigners

In conclusion, the orientalist view on women was very over sexualized stemming from the idea of Otto
Harem, which is shown with the murals within the film. The relating to the character of Kanchi and how
she is depicted , contrasting to the nuns.

The Young General represents an invading culture, he forces himself into the story, draws the attention
of all around him and causes disarray. This perfectly contrasts with the St.Faith doing almost exactly
the same thing, and the film ends up portraying the two sides as warring factions, where in the end
nobody wins.
HARVARD LIST
A. Mohd Ramli (2011). “Contemporary criticism on the representation of female travellers of the Ottoman harem in the 19th century: A review,” [Book] Intellectual Discourse 19: 265Beaulieu, J. (2003). Orientalism's
Iterlocutors. Duke University Press.

Arab American national museum.2012 (online) at: http://arabstereotypes.org/why-stereotypes/what-orientalism (accessed 15/11/18)

Dessem, M. (2009). #93: Black Narcissus. [online] Criterioncollection.blogspot.com. Available at: http://criterioncollection.blogspot.com/2009/08/93-black-narcissus.html [Accessed 15 Nov. 2018].

Jaikumar, P. (2001). "Place" and the Modernist Redemption of Empire in "Black Narcissus" (1947). Cinema Journal, 40(2), 57-77. Retrieved from http://www.jstor.org/stable/1225843

Petrie, D. (2001). Black Narcissus | Encyclopedia.com. [online] Encyclopedia.com. Available at: https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/black-narcissus [Accessed 15
Nov. 2018].

Sdegruyt. (2009). Kanchi: Sexuality in Black Narcissus. Available: https://www.youtube.com/watch?v=rmDVkkp6UGY Last accessed 15th November 2018.

S. Street (2005). Black Narcissus: Turner Classic Movies British Film Guide. [Book] (N/A): I. B. Tauris. 38.

Said, E. (1995). Orientalism. London: Penguin.

Street, S. (2005). Black Narcissus. London: I. B. Tauris, pp.39-41.

(N/A). (2016). BLACK NARCISSUS (1947). Available: https://seeingthingssecondhand.wordpress.com/2016/07/10/black-narcissus-1947/ Last accessed 15th November 2018.

Nancy demerdash. 2015.Khan academy (online) at: https://www.khanacademy.org/humanities/becoming-modern/intro-becoming-modern/a/orientalism (accessed 15/11/18)

T. Herath, (2016) “Women and Orientalism: 19th century Representations of the Harem by European female travellers and Ottoman women”, [Book] Constellations, 7(1), Page: 32 .

V. Parkes. (2017). The Imperial Harem of the Ottoman Empire: More than Just Beautiful Women. [Website] Available: https://www.ancient-origins.net/history-ancient-traditions/imperial-harem-ottoman-empire-more-just-
ILLUSTRATION LIST - CHARACTERS
Figure 1, 2 Cardiff, J. (1947) Black Narcissus [Film Still]

Figure 3, Burne-Jones, E. (1884) King Cophetua and the Beggar Maid [Oil on Canvas]. Tate Britain, London

Figure 2 Jean Simmons as Kanchi in 'Black Narcissus', 1947 -R. Bright Carroll. (2018). Jean Simmons as Kanchi in 'Black Narcissus', 1947 - Directed
by Michael Powell & Emetic Pressburger. Available: https://www.pinterest.co.uk/pin/210965563778500459/ Last accessed 15th November 2018.



Figure 1 Exotic murals of concubines M. Dessem. (2009). #93: Black Narcissus. Available: http://criterioncollection.blogspot.com/2009/08/93-
black-narcissus.html Last accessed 15th November 2018.



Figure 3 Sister Clodagh and Kanchi -The Guardian. (2010). Jean Simmons: a life in pictures. Available: https://www.theguardian.com/film/gallery/
2010/jan/24/jean-simmons Last accessed 15th November 2018.



Figure 4 Mirroring each other [Still] (1947) - Sdegruyt. (2009). Kanchi: Sexuality in Black Narcissus. Available: https://www.youtube.com/watch?
v=rmDVkkp6UGY Last accessed 15th November 2018.
ILLUSTRATION LIST - SET DESIGN
Figure 1 - https://film-grab.com/2010/11/08/black-narcissus/#jp-carousel-6032

Figure 2 - https://silverscenesblog.blogspot.com/2014/05/set-design-black-narcissus-1947.html

Figure 3 - https://www.berlinale.de/de/archiv/jahresarchive/2015/02_programm_2015/02_Filmdatenblatt_2015_201520114.html#tab=filmStills

Fig 4 “Girl With a Pearl Earring“ - https://news.artnet.com/exhibitions/vermeer-girl-pearl-earrings-study-1233143

Fig 5 + 6 wall paintings in the movie http://criterioncollection.blogspot.com/2009/08/93-black-narcissus.html

Fig 7 Indian Painting from 1550 - https://ca.wikipedia.org/wiki/Fitxer:Westindischer_Maler_um_1550_001.jpg

Figure 8 - https://silverscenesblog.blogspot.com/2014/05/set-design-black-narcissus-1947.html

Figure 9 - http://thefilmexperience.net/blog/2016/5/23/the-furniture-black-narcissuss-maddening-matte-paintings.html

Figure 10 - https://silverscenesblog.blogspot.com/2014/05/set-design-black-narcissus-1947.html

Figure 11 - https://silverscenesblog.blogspot.com/2014/05/set-design-black-narcissus-1947.html

Fig. 12 Fig . Still from the film, showing lush, vibrant vegetation https://betterwithbob.wordpress.com/2018/08/23/my-100-favourite-films-in-review-number-41-black-narcissus/

Fig. 13 Fig . Still from the film, showing the matte painting background http://thefilmexperience.net/blog/2016/5/23/the-furniture-black-narcissuss-maddening-matte-paintings.html

Fig. 14 Shot of Mopu Palace http://www.powell-pressburger.org/Images/47_BN/WFP_Book/index.html