Libby's Odyssey

As a society, we still have a long way to go concerning disability representations in the media. Currently, the representations of disability are limited, mostly representing disabilities that are easily understood and “palatable” for a vast audience. When discussing disability, multiple models must be considered. The three main models are the deficit model which frames disability as an individual tragedy, the social model which frames disability as an impairment, and the cultural model which seeks to redefine “normal” and “disabled” in varied contexts. As society moves closer to a cultural modelling of disability and ability, more representations of different abilities are showcased in the media, stepping away from portrayals of “othering”.

Disability in the media is often portrayed stereotypically, limited in its diversity and depth. Visible disabilities are portrayed the most often, such as mobility impairments and other physical disabilities, with invisible disabilities such as mental health issues and chronic health problems being left underrepresented. This suggests a societal preference for portrayals of disability that are more visible and easier to categorise, which often leaves invisible disabilities underrepresented and misunderstood. Rosemarie Garland-Thomson’s theory of “staring” could be used to further explain limited media representations, highlighting how society tends to perceive disabled bodies with curiosity, discomfort and sometimes fascination. This explores the theory that social relations help form identities, highlighting the dehumanisation that can occur when there is a focus on physical differences rather than an individual’s holistic identity (Garland-Thomson).

Another issue with the media’s portrayal of disability is the tendency to isolate an individual’s physical struggles without the consideration of possible mental and emotional factors. For example, a character may be placed in a wheelchair and portrayed as physically challenged, but the emotional effects of living in an ableist society may not be explored. Margret Price’s theory of “bodymind” helps to emphasise the interconnectedness of physical and mental experiences, highlighting that an individual’s disability cannot be separated from one’s encompassing sense of self (Price). As the physical and mental tolls of disability must be considered, so should the intersectionality of representation. In popular media, the most common portrayal of disability is the white male experience. This appeals to hegemonic ideals, catering for an audience that is widely portrayed in other ways by the exclusion of diverse gender and race experiences. One portrayal of intersectional disability that is appropriately constructed is Felix from Heartstopper. Felix is a non-binary character who also has physical disabilities, characterising the intersection between disability and queerness. They are framed holistically, challenging previous misconceptions championed by the media that disability defines a person, allowing Felix to have their own goals, personality and relationships that are not solely characterised by their disability. Additionally, Felix is played by Ash Self, an actor who is transgender and disabled, meaning that the show’s diversity is not fabricated simply to appeal to diversity quotas, portraying minority groups authentically (Stroude).

The importance of diversity within the media is a topic of conversation that is at the forefront of discussions surrounding media, and diverse and authentic characterisations of disability must be considered as well. With increased visibility within the media, more accurate portrayals of disability can assist in breaking down stereotypes which in turn provides a more nuanced understanding of what it means to live with a disability.