Photo by Jakob Owens 

Last month here in the Blind FilmMaker, we wrote a much-needed post about authentic disability representation. However, it’s also important to expand on that because it’s just one of the many new basics for making films about disability. 

Now, the term ‘new basics’ can be a bit confusing for some people. What happened to the old basics? Does this mean that the rules for making films on such sensitive topics are often so arbitrary and change frequently? Why bother making these films then? 

The answer lies in the fact that films about disability have changed dramatically over the years in response to both grand praise and constructive criticism. The same also goes for how many of these films have aged through the years alongside more advocacy, awareness as well as scientific research.

Not even the best films about disability have aged perfectly. Many of them gave a positive impact, but also ended up leaving much to be desired. Just look at how the word Rain Man has turned out 30 years since it was released to critical acclaim.

Hence, there is a need to learn from the mistakes of the past, and why creating films about disability need to come with a fresh set of new basics.

 Let’s consider the following.

 

Avoiding Clichés

Photo by Josh Appel 

Many of the clichés about disabled people tend to just focus on archetypes and stereotypes. Given how well-known these are in this day and age, filmmakers might make the mistake of avoiding exclusively these and no other clichés that are also getting old.

 Clichés can also come in the form of plots, premises and even the genres they appear in. When people with disabilities are often seen as characters who are overly innocent, pitiable or become victims of antagonists, it also limits the kind of film where such characters can appear. It gives the impression that people with disabilities have to somehow only be in feel-good films or deep-thinking indie films. 

What if that’s not the case? Why can’t there be, say, a horror movie with a disabled character that doesn’t have them falling into the usual stereotypes? How about a comedy where the guy on the autism spectrum is actually normal compared to a completely goofy main lead? There are still so many ways that disabled people can be depicted and be allowed to participate in various genres. They don’t always have to be in feel-good underdog stories.

 

Authentic Casting

Photo by Nick Karvounis 

There has been growing demand from the disabled community to have more of their own cast into roles of disabled characters. In principle, this is sound. Having able-bodied actors attempt to mimic a particular disability, despite all best intentions, can still be seen as inauthentic compared to allowing an actual actor with that disability perform. 

On the other hand, there remain plenty of challenges to making this a reality. One cannot be too sure that every studio will be capable of finding actors with disabilities that can also have the additional traits they need to play a character. Some studios may even have difficulty affording to hire them. 

But rather than be discouraged, this should go to show that creating films about disability should be seen as a major project among studios. Everything, even from the moment a writer creates a screenplay and all the way to production, must account for the wider challenges that come with much-needed authentic casting. 

Studios shouldn’t also make too many presumptions about such difficulties without first reaching out and consulting with advocacies who already specialize in connecting performers in the disabled community. After all, what is the point of encouraging people to empower those with disability to nurture their talents and skills, yet somehow still limit their capacity to participate? If a society is to boast about the number of disabled individuals it has helped in educating, training and lifting up, then it needs to keep offering opportunities like acting roles. 

Again, it’s all about showing the commitment to authenticity, solidarity and support for the topic a film about disability will be touching on. 

Accepting Differences, Accepting Change 

At this point, it should be made clear that filmmakers shouldn’t wholly reject the cultural milestones in films like Rain Man, I Am Sam and other remarkable films like them. They have created awareness and were instrumental to the progress that today’s society, as a whole, have made in the treatment of people with disabilities. 

The challenge now is to understand that such progress wasn’t made without mistakes. There remains room for improvement in the film industry when it comes to representation and the handling of disabled characters. The same obviously goes for actors who, more than anyone else, deserve a right to play them. 

In short, these new basics outline the next step towards more positive change. To think that no further change is possible is exactly the sort of attitude that invites ableist regression and undermining everything that was accomplished in the last 50 years.

If you’d also like to get an in-depth look at the life of a filmmaker with disability, then there’s always my book Born Blind, available on both Amazon and Barnes & Noble.

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