Mainstream Film

Author of disability Nancy Mairs who’s a feminist and a cripple, has accomplished a lot in writing and teaching. Her remarkable personality shows in many of her essays especially in Disability which was first published in 1987 in the New York Times. In this essay, Nancy Mairs shows how disabled people are constantly excluded, especially from the media. By giving out facts and including her personal experiences, Mairs aims for making some changes regarding the relationship between the media and people with disabilities. Mairs thesis is shown implicitly in the first

This essay explores the popularity of Australian film, both locally and internationally and asks the question: Is there a crisis in the Australian Film Industry? This essay will go through the current issues the Australian Film Industry and will demonstrate examples of those problems.

The film I selected to observe that displays a disability in the media is Pumpkin. The film Pumpkin is based on a young college girl name Carolyn that volunteers in yearly Challenged Games. In the Challenged Games Carolyn is partner up with a boy name Jesse that goes by the nickname Pumpkin, which has an intellectual disability and is handicapped. Despites everyone disapproval and differences in the film both Carolyn and Pumpkin end up falling in love in the film. The character in the film is portrayed as a young boy that is not “normal” enough to be around all the other students or even to have friends or a girlfriend. He is rather seen as an individual that has a disability that makes him different from everyone else and because of that disability

In Nancy Mairs’ article for The New York Times, “Disability”, published in 1987, she expresses her distaste with the media's representation of handicapped people. Mairs, who struggled with multiple sclerosis herself, clearly and sharply conveys this disgust by stating, “I’m not, for instance, Ms. MS, a walking, talking embodiment of a chronic incurable degenerative disease.” (Mairs 13), and that she is actually, “the advertisers’ dream: Ms. Great American Consumer. And yet the advertisers, who determine nowadays who will get represented publicly and who will not, deny the existence of me and my kind absolutely”(Mairs 14). Mairs is greatly upset that disabled people are defined by their disabilities and, therefore, are underrepresented in public media. This might lead to one asking themselves, but why are they? And the answer, according to Mairs, is quite simple, “To depict disabled people in the ordinary activities of daily life is to admit that there is something ordinary about disability itself, that it may enter anybody’s life”(Mairs 14). Mairs concludes by pointing out how this effacement could have dangerous consequences for both disabled people and, as she called everyone else, TAPs (Temporarily Abled Persons) alike. Treating disabilities as an abnormal characteristic (as opposed to viewing them “as a normal characteristic, one that complicates but does not ruin human existence” (Mairs 15)) can cause one of these repercussions, as it makes the

In her essay, “On Being a Cripple”, Nancy Mairs, an essayist with multiple sclerosis, writes about her experiences with her disease. She wants her audience of able-bodied people to stop pitying towards disabled people and instead show acceptance. Mairs achieves her purpose by presenting herself as similar and relatable to her able-bodied audience with many anecdotes and a blunt tone. This discussion of her condition removes the discomfort about disabilities felt by her audience and allows for them to accept disabled people. While Maris’s primary audience is an able-bodied person who supports disabled people, other readers, like someone with her condition, may be drawn towards this essay as well. Unlike an able-bodied person, a disabled person

A few years ago, my sister introduced me to the film ‘Benny and Joon,’ a story about a woman in her twenties with a disability that is more or less undefined throughout the film. She lives with her brother who works full-time but hires several “housekeepers” that he has watch over her at home. She comes off quite content, mainly painting all day and going about her everyday routines. At first, she may just come off as a “stereotypical temperamental artist”(Tibbets) but her painting at a rapid rate, extreme pickiness of food (eating mainly captain crunch and peanut butter smoothies), unique mannerisms, and outbursts suggest that she may be on the spectrum. There are scenes where she puts on a scuba mask and attempts to direct traffic in the middle of the street with a Ping-Pong paddle; an episode that the article ‘The Patronizing “adorable” side of Schizophrenia in Benny and Joon’ addressed could be an indication of schizophrenia or bipolar disorders. The most recent “housekeeper” quits after one of Joon’s “outbursts.” After reading critiques by people with disabilities themselves and other sources, I have begun seeing this movie a new light, introducing a sadly patronizing and demeaning representation of disability and her family/societies inappropriate response to her condition.

Disability has appeared frequently in recent films (Byrd & Elliot, 1988), a reflection of society’s interest in the subject. These films often misrepresent disability using stereotypes. These stereotypes reinforce negative and incorrect social perceptions of, and attitudes towards,

The name of the film selected for this case study is I am Sam. (2002) The protagonist of the film is Sam Dawson, who is played by the actor Sean Penn. Sam Dawson is a developmentally or intellectually challenged adult male, who has a young daughter, primary school aged, named Lucy. Sam and Lucy live together without her mother, who is a homeless person. There is not extensive information provided in the film regarding Sam's upbringing, but based on his present situation, he is a well adjusted person in a middle class atmosphere. It seems he has enough assets to provide for himself and his daughter in a fairly independent basis. His daughter, Lucy, is happy and taken care of, but the tension begins when Lucy exceeds Sam's mental capacity. Her peers ridicule her and her father because of his intellectual deficiencies, calling him a "retard." The character's family consists of Lucy primarily, and some of Sam's other disabled friends who all help each other. One of Sam's greatest and most prominent "likes" is that he is a huge fan of the band The Beatles. One of his strengths is his love for his daughter. Another strength, although it is perceived as a weakness by others who might prey on him, is that he goes through life with a sense of awe and naivete. Of course, this is a result of his disability, but even still, he could have

The costs, methods of distribution, and themes of Hollywood and Nollywood films reflect strongly their target audiences; how the target audience affects the production of a film and how the production of a movie is designed to capture a specific

In the media today, people with disabilities are perceived as tragic heroes or as medical miracles. They are rarely seen for their intelligence or for their accomplishments excluding their overcoming disability hardships. The textbook, Everything’s an Argument, contains an excerpt from Charles A. Riley II 's book “Disability and the Media: Prescriptions for Change.” Riley, a journalism professor at New York’s Baruch College, uses appeal to ethos, logos, and pathos to persuade his audience that their methods of portraying disabled people are in dire need of change.

Nancy Mairs in her “disability” has done a good job in delivering her message. I believe she managed to persuade the audience that there is no reason to exclude disabled people from the media. Her information was clear and made sense, her examples were enough to support her thesis and her tone added a certain flavor to her essay. “Disability” can actually make certain changes if it is addressed to its right audience and I certainly recommend it to my friends and anyone who might be interested in this

The dominant model of disability for the majority of the 20th century was the medical model. The medical model’s emphasis is on impairment; this is the cause of the disadvantage disabled individuals face and therefore the site of interventions (Crow, 1996). It is based in the biomedical and clinical. It views disability as a personal tragedy, an idea which is often implicit in work around disability based on the medical model. (Oliver, 1990).

The producers will develop a test and the audience will tell the producers whether it is something they want to see or they are not going to see. This can affect the next text to be produced in an attempt to conform to the audience demands. Looking at the development of different types of genres and the development of films within the same genre, it’s possible to look at similarities and differences and identify changes in society and audience ideologies and tastes.

Prior to the course, Perspectives on disability, my understanding of disability was a fundamental, concept of disability, in which I knew it existed, and also have seen and interacted with people considered to have a disability. I never took a deep look at all the social and political factors that exist within the spectrum of disability. This course has allowed me to examine all aspects of disability, which has changed my view and approach of what a disability is and how it is viewed. "Historically, disability has been viewed fundamentally as a persoal tragedy, which has resulted in diasbled people being seen as objects of pity or in need of charity. They have been subject to descriminatory policies and practices in which the predominant images of passivity and helplesness reinforced their inferior status"(Barton 4). Uncovering the framework of disability, by studying the historical, soicial political and educational standpoint, I see the intricacies in which gives me a greater understanding and awareness of the topic.

The evaluation of a film assigns some form of value to a film and the experience you encountered while watching the film. Evaluation can imply the criteria and standards that you can argue about to place value on a film. Thus, giving people a reason to question a film to develop reasons, make such standards are met and to understand the film. These standards can stem from the classical evaluation and pluralistic-category method which has given viewers a blueprint of how you should properly evaluate a film. There are certain ways that you can go about judging a films effectiveness. For instance, the classical evaluation method imposes the use of cinematicity within three concepts that all films should have. Like medium specificity, cinematicity allows film to distinguish itself from theatre with the use of close-ups, camera movement, etc.; thus, creates a universal structure for critics to judge a film. This is based on the creative style of the director and how much the viewers admire the way the has stuck with its cinematicity. However, the pluralistic-category does not base its evaluation on style and opinion. In all, these types of evaluations are used in different ways which will be further explained throughout this essay.