Running head: MEDIA PORTRAYAL OF INDIVIDUALS WITH
DD 1
The Portrayal of Individuals with Developmental Disabilities within the Media:
A Critique of Six Films Produced Across Sixteen Years
Becca Irvine
Lynchburg College
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Film Portrayal of Developmental Disabilities: Analyzing Media Representation, Exams of Communication
This paper explores how individuals with developmental disabilities are portrayed in films, focusing on social communication, behaviors, presence, terminology, self-awareness, and advocacy. The analysis covers films from the late 1800s to the 1990s and 2000s, discussing their impact on societal perception and the importance of accurate representation.
What you will learn
- How can films positively impact societal inclusion and acceptance of individuals with developmental disabilities?
- How have films historically portrayed individuals with developmental disabilities?
- What are some examples of films that have accurately portrayed individuals with developmental disabilities?
- What are the major perspectives in which individuals with developmental disabilities have been portrayed in films?
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Running head: MEDIA PORTRAYAL OF INDIVIDUALS WITH DD 1
The Portrayal of Individuals with Developmental Disabilities within the Media: A Critique of Six Films Produced Across Sixteen Years
Becca Irvine Lynchburg College
The Portrayal of Individuals with Developmental Disabilities within the Media: A Critique of Six Films Produced Across Sixteen Years The media is a world in itself that can be beneficial but also vicious in some regard. When looking at the media in society today, many factors come to mind along with a number of questions. For the purposes of this paper, media will be defined as “the main means of mass communication (especially television, radio, newspapers, and the internet) regarded collectively” (Oxford Dictionaries, 2014, p.1). This paper will take a deeper look into how individuals with developmental disabilities are portrayed in the media, specifically through film. Questions and criteria were predetermined and discussed prior to the viewing of these six films. These included: Are films educating or stereotyping when portraying individuals with developmental disabilities? Are these films showcasing individuals with developmental disabilities in an appropriate manner? As Mullins questioned in regard to the perception of individuals with disabilities, What reality do we want to call into existence: a person who is limited or a person who is empowered? By casually doing something as simple as naming a person, a child, we might be putting lids and casting shadows on their power. Wouldn’t we want to open doors for them instead? (Ted talk, 2010). This simplistic yet powerful perspective inspired the structure and data collection for this paper through the desire to truly understand how individuals with developmental disabilities are being portrayed in films from the past and present. Although the information found can be misguiding, it allows a deeper look into a means of portrayal in the world of film. In taking a look back, individuals with disabilities made a debut in the film community in 1898 in a 50 second ‘humorous’ short regarding a man pretending to be
presence in early childhood, as well as terminology utilized, self-awareness, and advocacy. A brief overview of each film will be discussed along with the specified findings before a cumulative review is exposed. Adam This film showcases a budding romance within the hustle and bustle of New York, but with a twist. Adam, a man who has just lost his father, enters a world of the unknown where his predetermined routines and patterns become blurred. When a woman (Beth) comes into his life, Adam’s world is turned upside down with change that takes viewers on a journey through the eyes of an individual diagnosed with Asperger syndrome, a disorder on the autism spectrum that is no longer a standing diagnosis according to the DSM-V. One of the most intriguing aspects of this film is that Adam’s diagnosis is not mentioned for the majority of the beginning portion of the movie until he discusses it with Beth. Instead, the film showcases Adam’s difficulty with social interactions, repetitive behaviors, ritualized days, and extensive interest in space. This sets the stage for a viewer to see an atypical difference in Adam and builds curiosity (De Pencier, Urdang, Vanech, & Mayer, 2009). Adam has difficulty with social-emotional reciprocity and the development and maintaining of relationships. This is evident through his social awkwardness, gullibility, and aversion to trying new things and meeting new people. Behaviorally, Adam has difficulty controlling his emotions and has instances where he throws items, bangs his head, and hits himself in the head due to the difficulty he has in verbalizing his thoughts and feelings and, instead, bottles them up. On the other hand, Adam is extremely vocal, showcasing impeccable articulation and a literal means of understanding. It is
showcased throughout the film that he has the ability to create relationships and warm up to people that he feels comfortable with. Based on the year of when this film came out, the terminology and language utilized, specifically the diagnosis of Asperger syndrome, is appropriate. Through the portrayal of Adam, viewers observe a great deal of self-awareness and self-advocacy within this young man along with accurate behavioral and emotional interpretations. The fact that this role is played by an actor who is typically-developing is impressive due to the accuracy and commitment within the role. When discussed in a New York Times article, Adam received a general review but was noted to include, “playing a character who is mentally disabled can be a fast track to Oscar or to oblivion” (Catsoulis, 2009, p.1). This calls to question the major purpose behind the film as well as the perception it received. Additionally, this article points out the acting ability of Hugh Dancy for playing the roll of “a Manhattan engineer who suffers from Asperger’s syndrome (a form of autism)” (Catsoulis, 2009, p.1). It is language such as this that effects perception of this film and, in the bigger picture, individuals with developmental disabilities; a diagnosis does not mean that an individual ‘suffers’ from that disability. Adam appeared to be a realistic portrayal of an individual with a developmental disability. Although there were times in which the producers did have the audience feeling pity for Adam, it was overall a convincing interpretation of the ritualistic and socially difficult experiences that a person with this diagnosis can face. In other terms, the portrayal of Adam could be seen as “disabled innocence” as well as “disabled inspiration” at some points during the film (KASA, 2005). Overall, this would most likely be considered as a vulnerable yet realistic interpretation. [For further details of the interpretation of the film, see Table 1.]
Based on the setting and time of this film, the terminology and language would be considered appropriate. Unfortunately, there was little to no self-awareness or self- advocacy for Radio; instead, he had a great deal of extended familial advocacy especially from Coach Jones and, eventually, the town. Although an actor (i.e., Cuba Gooding Jr.) was playing the role of an individual with a disability, the overall depiction was generally accurate. Due to some of the negative connotations within the film, the analysis would be considered to have mixed considerations yet accurate to a point. In accordance with observations, it would be fair to assume that this character being portrayed (based on a true story) would be diagnosed with the label of intellectual disability. Overall, this appeared to be a realistic depiction of an individual with an intellectual disability and how others would and could treat him. This would be considered a portrayal that elicits pity with character shown as “disabled innocence” (KASA, 2005). The producers would most likely consider this a feel-good film that emphasizes the ups and downs of the life of an individual with an intellectual disability. As noted in a review of the film, There is no cynicism in “Radio,” no angle or edge. It’s about what it’s about, with an open, warm and fond nature. Every once in a while human nature expresses itself in a way we can feel good about, and this is one of those times. (Ebert, 2003, p.1). In being a non-fictional depiction, this film showcases the heart of a small town coming together for the greater good of an individual with a disability. This film clearly depicts the positive impact an individual with a disability can have on others, and how others impacted him. [For more information about Radio , see Table 2.]
What’s Eating Gilbert Grape Arnie, the brother of Gilbert Grape, serves as a supporting character in this film and he is signified as being ‘different.’ The setting is portrayed as a rural small town and showcases a larger family with a small income. Arnie is a young adult who is looked after primarily by his siblings; he requires constant guidance and attention or else he runs off to climb the water tower or sits in a tree. Throughout this film, the audience sees the daily difficulties of a struggling family (Matalon, Ohlsson, Teper, & Hallstrom, 1993). Arnie is portrayed as having a number of rituals with his family and himself, including daily activities as well as the yearly watching of campers pass through town. He appears to be rather gullible and literal as well as having little understanding of personal space or strangers. He is often seen crying, hitting his head, not making eye contact, running away, and wringing his fingers. Arnie is quite vocal yet repetitive in his speech and language. He has difficulty with recalling information and understanding word choices of others. However, Arnie is portrayed as an overly happy individual who lives life to the fullest while always saying how he feels. The terminology and language used throughout this film are both appropriate at times yet inappropriate at others; however, this is also representative of the time period in which it is set. This can be referenced by the lack of knowledge regarding a diagnosis of Arnie’s condition and using phrases such as “he shouldn’t be alive.” The behaviors depicted by Arnie are quite accurate for an individual with autism spectrum disorder (ASD). Throughout the film, it appears as though Arnie knows that he is different than others but he does not have a grasp on self-awareness or self-advocacy. His biggest and most active advocate, for the majority of the movie, is his brother Gilbert.
off by the presence of strangers. He does appear to have some sensory difficulties with those he does not know and has a hard time reading others’ emotions. However, Forrest is quite vocal but very self-focused yet curious. This film has turned into somewhat of a classic in the past twenty-years, yet it has varying reviews. One review captured the following, And yet this is not a heartwarming story about a mentally retarded man. That cubbyhole is much too small and limiting for Forrest Gump. The movie is more a meditation on our times, as seen through the eyes of a man who lacks cynicism and takes things for exactly what they are. (Ebert, 1994, p.1). This suggests that viewers may be looking beyond Forrest Gump and his disability by focusing upon the historical aspects of the film. Based on the time setting of the film, appropriate terminology is used at times. The overall portrayal of Forrest over such a long lifespan is interesting because a variety of actions and periods are seen. For instance, it is not portrayed that Forrest truly understands that he is different or ‘not smart’ until he meets his son; thus, he did not appear to have self-awareness or self-advocacy throughout the majority of the film. His mother, however, was his biggest advocate and made sure that he was able to participate as much as others and understand that being different is okay through her countless quotes. This film definitely portrayed Forrest as a “disabled inspiration” due to everything he endured and accomplished (KASA, 2005). Although initially vulnerable, this film showed that Forrest made a place for himself despite his differences. In summation, Forrest would more than likely be diagnosed with ASD or a developmental
disability based on the portrayal. [For further details of the interpretation of the film, see Table 4.] Tru Confessions In this coming of age film, viewers see a realistic portrayal of family life with an individual with a developmental delay. Eddie and Tru are twins who have just started high school; the major difference is that Eddie has been diagnosed with a developmental delay. With the addition of a television competition, the audience is able to see the true ‘day in the life perspective’ of Eddie through the happy and playful times and the times of frustrations (May & Hoen, 2002). Eddie appears to have a much lower functioning age than his chronological age, which is depicted through his interests, speech and language, and his classroom placement. He appears to be literal in nature but also enjoys a good joke. Eddie has difficulty communicating his feelings and communication with others in general. He is quite vocal with repetitive and short phrases and recalls information quite vividly. He appears to have some sensory difficulties as well as a need for continuity and sameness. For a film from 2002, the terminology is overall accurate but somewhat difficult to watch due to the use of the term “retard.” However, the behaviors represented are quite accurate. Throughout the film, it is made clear that Eddie has the knowledge that he is different and considers himself to be a “r-word,” but he does not have the concept for self-advocacy; fortunately, his family members are great advocates for him. In reviewing this depiction and taking into consideration what the film said, Eddie would most likely have a diagnosis of DD or ID. This feel-good film does not hold back the fact that advocating and living with a person with a disability can be difficult at times but also rewarding. It shows an
portrayed; at times, the individuals could collectively be viewed as portraying “disabled innocence, disabled inspiration, and disabled evil” due to the triumphs and tribulations of the film (KASA, 2005). As expected, reviews of this film were differentiated and some brought forth arguable viewpoints. One of these included, “The movie surprised me. It treats its disabled characters with affection and respect, it has a plot that uses the Special Olympics instead of misusing them, and it’s actually kind of sweet” (Ebert, 2005, p.1). This perspective sheds light on the advocacy that this film built for this community. [For further details of the interpretation of the film, see Table 6.] Discussion In viewing this cross-section of films from the 1990s and 2000s, it is clear that individuals with developmental disabilities are portrayed in a variety of ways. As mentioned previously, individuals with disabilities have historically been portrayed in three major perspectives, “disabled innocence (Tiny Tim), disabled inspiration (Helen Keller), and disabled evil (Captain Hook)” (KASA, 2005, p.1). As aforementioned, this was taken into consideration when viewing these films and collecting data. Within these six specific films, all of these major perspectives were portrayed through individuals with developmental disabilities. Major commonalities as well as differences were collected within the data. All of the characters specifically observed would more than likely be considered to have a developmental disability. The majority of these individuals had significant difficulties with social communication as well as interactions and generally showed a sense of ritualistic routines and a need for sameness. Some of these characters were observed to have a need for sensory input or output. The overarching sum of individuals was quite gullible with little to no understanding
regarding the danger of strangers. Many appeared to have behavioral difficulties, but all were vocal in some sense. Surprisingly, self-awareness as well as advocacy of some means (either self or familial) was a major theme within these six films; this is positive, as this has become a major point of concern in the present. The terminology and language used in regards to these individuals were probably the area of most concern based on the data. Overall, the analysis showed these films to be mostly positive. Because the films were not chosen in a completely unbiased fashion (recommendations were given by outside sources), this is not a surprising analysis. One of the major aspects gathered through film reflection is that society and the media have been quite affected by the many changes that have been occurring in the terminology used within the world of special education regarding individuals with disabilities. This is evident when reviewing these films as well as the collected information on each. Over the past several decades, terminology regarding this population has changed drastically from categorical labels to social norms to politically correct terms and phrases. This became apparent when half of the films watched for this paper included the “r-word.” Contrary to some belief, terminology does in fact matter and can affect those with and without disabilities in extremely negative fashions. As Siperstein, Pociask, and Collins (2010, p.126) stated: although the reasons for and momentum behind the most recent shift in terminology are many, none of these reasons have had the same visibility in the media and among the growing voice of self-advocacy groups as the stigma that can be attached to the derogatory invective, retard. (p.126)
Initially, I was excited for this project because I was able to individualize it to my interests and it allowed me to watch films. However, I quickly learned that this was not as simplistic as I thought it would be due to the intensity of the films, the overall critiques, and reflecting on the entirety. As an advocate for individuals with disabilities, I find the media to often be misleading and judgmental of this population. When I chose this topic, I never expected to be so challenged by the varying portrayals that I have seen yet reaffirm my passion for advocacy. With the addition of several reviews that I found on these films, it was interesting to research how others may have interpreted these films and portrayals as well. Upon compiling my data, I realized just how true some of the articles that I had researched are regarding the major concepts of portrayal of individuals with disabilities (e.g., superheroes, victim, disabled innocence). I have always been a fan of films portraying individuals with disabilities because it is creating visibility. However, I now realize that that is not necessarily positive in all regards. I truly believe that studies similar to this need to be conducted in order to show society and the film industry the importance of accurate portrayal and how it can affect others.
References Catsoulis, J. (2009). Desire and disability: An engineer’s inner battle. Retrieved from http://www.nytimes.com/2009/07/29/movies/29adam.html De Pencier, M., Urdang, L., Vanech, D. (Producers), & Mayer, M. (Director). (2009). Adam [Motion picture]. United States: Fox Searchlight Pictures. Ebert, R. (2003). Reviews: Radio. Roger Ebert. Retrieved from http://www.rogerebert.com/reviews/radio- Ebert, R. (2005). Reviews: The Ringer. Roger Ebert. Retrieved from http://www.rogerebert.com/reviews/the-ringer- Elliott, T.R., & Byrd, E. (1982). Media and disability. Rehabilitation literature, 43 (11- 12). Retrieved from http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved= CB4QFjAA&url=http%3A%2F%2Fwww.researchgate.net%2Fpublication%2F 6977705_Media_and_disability%2Flinks%2F0deec519b856c15c15000000&ei= Dv5YVNnWCsHZsATkzYCYDw&usg=AFQjCNGFz8rYp1ac7fjCMAa4yvFZII IcuA&sig2=po5d5fjwepPBhoju0IjzOw&bvm=bv.78677474,d.cWc Farrelly, P., Farrely, R. (Producers), & Blaustein, B.W. (Director). (2005). The Ringer [Motion picture]. United States: Fox Searchlight Pictures. Gains, H., Robbins, B. (Producers), & Tollin, M. (Director). (2003). Radio [Motion picture]. United States: Columbia Pictures. Kids As Self Advocates. (2005). Disability culture series: Disability portrayal and the media today. Retrieved from http://archive.adl.org/education/curriculum_connections/fall_2005/fall_2005_les son5_dis_culture.html
Forrest Gump [Motion picture]. United States: Paramount Pictures. Ted Talk (2010, February 19). Aimee Mullins: The opportunity of adversity. Retrieved from https://www.youtube.com/watch?v=dTwXeZ4GkzI
Table 1 Portrayal of Individuals with ID in the Media: Films Film: Adam Character: Adam Criterion: Social-emotional reciprocity Developing, maintaining, and understanding relationships Stereotyped or repetitive motor movements, use of objects, or speech Insistence on sameness, routines, ritualized patterns Highly restricted, fixated interests; abnormal in intensity or focus Present in early childhood. Clinical impairment in social. Characteristics Observed: Social Skills: socially awkward, reverts to interest in space during conversations, prefers to not try new things, gullible, Harlan (dad’s friend) is only friend/relationship Behavior: difficulty controlling emotions (throws things and hits self when upset), everything has a particular place, collector Vocal: extremely articulate, very literal, emotionally around others once warms up to them
Miscellaneous: Terminology/Language used appropriately Yes No Physical representation and behaviors accurate Yes No Self Awareness/Self Advocacy Yes No Familial Advocacy Yes No R-Word Utilized Yes No Actor playing role (not real) Yes No Individual with Disability (real) Yes No Overall Analysis: Mostly Positive Mostly Negative Mixed Proposed Diagnosis: ASD (as discussed in film) Comments: Positive showing of the ups and downs in life; great to see relationship aspect Note: This table, and those that follow, were adapted from Patton, (2014a) and Patton, (2014b).