Peng's "Color as hue, Color as race": The use of color in "Toll of the Sea" speaks volumes about racial dynamics portrayed in the film. The Oriental landscape is a predominantly Western idea, so a colorful and naturalistic setting is ascribed to the Orient, so much so that this over-exaggeration was considered "realistic" by critics of "Toll of the Sea." Additionally, the exotic Chinese woman, embodied by Lotus Flower, becomes a "body ornament" as she becomes one with her surroundings. Due to Technicolor technology at the time, it was difficult to portray a major difference in skin tone (i.e. "yellow" versus "white"), so filmmakers resorted to associating Lotus Flower with her colorful, exotic background and costumes. It is important to note that this racial difference was difficult to portray because "yellow" is a "historically constructed...moral attribution" to East Asians, when in reality, East Asians used to be described as having a "pallid" skin tone. Nevertheless, "Toll of the Sea" makes its best attempt to separate "whiteness" from "yellowness" also by putting the White characters in beige clothing, highlighting the "invisibility of Whiteness."