Disability Pride Month: A history of disabled cinema

As a disabled person, I have spent countless hours watching films and feeling misunderstood, misrepresented, and excluded from the stories being told. The history of disability in cinema is a complicated one, with moments of progress interspersed between deeply troubling instances of perpetuating harmful stereotypes and erasing our existence entirely.

At one point, being disabled just meant having a certain type of ability, but now, through the formation of a strong community and culture, disabled individuals have the opportunity to express their unique creativity and identity.

Regrettably, the film industry has often overlooked or distorted the wealth of varied life experiences in its productions.

During Disability Pride Month this year, let’s delve into the rich history of disability representation in films from around the world. Exploring both the commendable portrayals and those that need improvement.

Back to the start

An early trend in portraying disabilities in movies involves the use of able-bodied actors feigning disabilities, a practice that persists in film history.

In 1897, a French short film titled “The Fake Cripple” was released, showing a man appearing to be disabled while begging on the street. However, it was later revealed by a police officer that he was not actually disabled. It’s unclear what effect this had in reality, but it’s safe to assume that the film did not promote empathy or belief towards people with disabilities.

A century ago, this narrative was firmly established in storytelling, and although it may be less common among creatives now, it remains a prevalent theme when criticizing those perceived as “welfare cheats.” The trope has resurfaced in more modern media as well, such as the critically panned 2005 film The Ringer, where the protagonist falsely represents himself as disabled to clear his debts. Regrettably, some authors still choose to reinforce this belief that disabled individuals feign their conditions for personal profit.

In 1907, The Faithful Dog was among the earliest films to elicit emotions from non-disabled audiences through the use of sad disabled narratives. This moving story focuses on a homeless, blind man who tragically passes away despite his loyal dog’s best efforts to save him. It serves as a poignant reminder of the outdated belief that people with disabilities are doomed to live unfulfilling lives.

In modern times, there are numerous examples – perhaps more than necessary. One such instance is the romantic comedy “Me Before You” (2016), in which the disabled lead character chooses assisted suicide despite his newfound love and happiness being a significant element of the film earlier on.

A common theme found in stories dating back to “A Blind Woman’s Story” (1908) is the portrayal of disabled individuals as incapable of helping themselves, requiring a non-disabled person to intervene and rescue them from poverty or other hardships. This narrative emphasizes the belief that people with disabilities cannot solve their own problems without external assistance.

Movies similar to The Upside (2017) demonstrate how enduring this specific trope can be. In these films, the character with a disability takes a back seat to the writers’ intent of inspiring other characters and the viewership through their story. This subset of disabled stereotypes is commonly referred to as ‘inspiration porn.’

In simpler terms, this tale can be described as portraying individuals with disabilities on high pedestals to motivate others through their resilience in hardships. The spectators are moved to persevere, while able-bodied characters may feel compelled to exceed their capabilities due to the belief that “at least I’m not disabled.”

Although the term “inspiration porn” was only introduced in 2014 by Stella Young, its presence in media and culture goes back much further. It can be traced as far back as the 1949 biopic about the disabled baseball pitcher, Stratton Story, and countless other instances since then. For example, in “My Left Foot” (1989), while the film effectively conveys a message of resilience using Christy Brown’s life story, it overlooks some less appealing aspects of his personal life, such as his wife’s alcoholism, infidelity, and potential abuse. Presenting such information wouldn’t have been in line with the heart-warming narrative.

In due course, the flawed storyline evolved into what I refer to as the “gloomily charming sickly sweetheart.” This archetype is all too familiar: a young, attractive individual, often female, falls gravely ill, prompting their well-intentioned romantic partner to embark on an extraordinary journey. The ailing person serves merely as an inspiration, never truly developed as a character.

Moving on to the next phase of tropes

Over the course of time, filmmakers needed to find innovative methods to portray disability in cinema, as simply telling such stories might have seemed uninteresting.

In the 1938 version of A Christmas Carol, the character of Tiny Tim represents the common trope of a lovable and innocent child with a disability. His endearing demeanor and pure spirit are heightened by the sad reality of his incurable physical condition, eliciting strong emotional responses from viewers.

Instead of “contrasting the angelic disabled trope with the overused trope of the scarred or disabled villain,” you could say: The tired cliché of the disabled or scarred villain stands in stark contrast to the common portrayal of benevolent or angelic characters with disabilities. This stereotype is pervasive, appearing in various works from Frankenstein and The Lion King to Detective Pikachu and numerous James Bond films, which seem unable to create a villain without resorting to a scar as a clear sign for the audience.

To add some depth to the unfortunate representation of disabled individuals in media, let’s focus for a moment on how autistic people have been depicted on screen. Films like Rain Man (1988) and Music (2021) are often cited as examples, unfortunately reinforcing the misconception that all autistic people possess extraordinary abilities or are prone to meltdowns and require harmful calming techniques.

Wait, there’s good stuff, too!

Despite the disheartening history of disability representation in cinema, there are moments of hope and brilliance that shine through the darkness.

In the groundbreaking film “Freaks” (1932), audiences were taken aback by the large ensemble cast made up of actors with disabilities and given insight into their everyday lives. However, the ending has faced backlash due to its portrayal of the “villainous disabled person” stereotype. Towards the end of the movie, a non-disabled woman is punished cruelly by the group as retaliation for deceiving one of them, resulting in her transformation into a freak.

At least, it began with promise: The Best Years of Our Lives (1948) offered a glimpse into post-war life for veterans with disabilities, as portrayed in this groundbreaking film.

In 1976, “Coming Home” was released as the next film. This groundbreaking movie broke two significant barriers: it depicted a sex scene involving a wheelchair-bound protagonist and abandoned the cliche of the innocent victim. Rather than enduring his disability in quiet acceptance, the lead character expressed anger towards the war that left him disabled and lived boldly without shame.

Let’s take a look back at the history of disabled representation in documentaries before discussing some more recent accolades. Whereas non-disabled writers struggled to tell authentic stories, documentary filmmakers shone a light on the realities of disabled people’s lives.

As a movie reviewer, I’d say: Back in the late ’60s, there was this groundbreaking documentary called “Titicut Follies,” directed by Frederick Wiseman. It offered an unflinching look into the Bridgewater State Hospital for the Criminally Insane, revealing shocking instances of abuse against disabled patients. The authorities tried to keep it under wraps for years, insisting it was a violation of patient privacy. Unfortunately, most people didn’t get a chance to see this film until 1991, by which time the majority of the patients had passed away.

More recent documentaries such as “Crip Camp” (2020) and “King Gimp” (1999) shifted the focus towards disabled individuals in their creation, resulting in trailblazing films that defied typical prejudices.

It’s fortunate that contemporary films, such as Run (2020), are beginning to portray positive changes. Run stands out for its authentic exploration of the fear of overprotective parents and the realistic depiction of disability without resorting to stereotypes. Notably, A Quiet Place (2018) and the award-winning CODA (2021) have brought the deaf and hard-of-hearing community into the limelight of filmmaking.

In the realm of television, there are some notable representations of disability that are truly commendable. However, these positive depictions are significantly outnumbered by the negative ones, making a considerable difference.

Yes, movie producers have become less hesitant about the acting abilities of individuals with disabilities, largely due to the groundbreaking performances of actors such as Peter Dinklage. However, there is still a long way to go. Despite this progress, disabled artists continue to face challenges in gaining recognition within the industry. Sadly, non-disabled actors frequently take on roles intended for those with disabilities, using these opportunities to boost their own award prospects.

I strongly believe in the power of change, even if it seems to be moving at a snail’s pace for disabled individuals. Just like every other group, we deserve to see our lives portrayed authentically on the big screen. Film is an incredible tool that can help non-disabled people gain a deeper understanding of the challenges we face daily. However, this potential can only be realized if it is used effectively. Let’s keep our fingers crossed that the future of disability representation in cinema continues to progress and never reverts back to its outdated stereotypes.

2024-07-22 19:05

Back to the start

Moving on to the next phase of tropes

Wait, there’s good stuff, too!

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