Hollywood Takes on Intellectual/ Developmental Disability
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Hollywood Takes on Intellectual/ Developmental Disability: Cinematic Representations of Occupational Participation Rebecca Renwick, PhD, OT Reg (Ont); Ann Fudge Schormans, PhD, RSW; and Deborah Shore, MSc OT, OT Reg (Ont) key words: occupational portrayals, qualitative research, image/text analysis ABSTRACT Adults with intellectual/developmental disability (IDD), and their occupational participation, are vastly under-represented in Hollywood films. Because films often provide individuals’ only experience of people with IDD, cinematic representations can influence audience perceptions. Thus, films can help inform public perceptions about desired and appropriate occupational par- ticipation for people with IDD, potentially impacting their access to meaningful occupational participation and achievement of occupational potential. Accordingly, this research examined occupational portrayals of adults with IDD in contemporary Hollywood films. Occupational portrayals, as defined here, refer to representations of the dynamic process of the person partici- pating in occupation(s) in a context. Grounded theory methods guided coding and analysis of qualitative data collected from eight contemporary films using an occupation-focused tool. Two major, striking themes emerging from the qualitative analysis—infantilization and simplifica- tion of participation in complex occupations (with three associated sub-themes)—are discussed. Implications of the findings and future research directions are considered. his article addresses two primary themes in and beliefs (Shakespeare, 1999). Individuals with the lives of people with intellectual/develop- disabilities are vastly under-represented, but typi- mental disability (IDD): occupational partici- cally stereotyped, in mainstream media (Giles, 2003; Tpation and media representation. Film portrayals of Haller, 2010). Within the disparate fields of disability occupational participation available to people with studies, media and film studies, and psychology, disabilities are of critical importance because visual there is significant research about film portrayals media influence and help shape societal attitudes of physical disability and mental illness (e.g., Black Dr. Renwick is Director, Quality of Research Unit, and Professor, Department of Occupational Science and Occupational Therapy, University of Toronto, Toronto, Ontario, Dr. Fudge Schormans is Assistant Professor, School of Social Work, McMaster University, Hamilton, Ontario, and Ms. Shore is Occupational Therapist, Sunnybrook Health Sciences Centre, Toronto, Ontario, Canada. Submitted: February 21, 2013; Accepted: November 5, 2013; Posted online: November 26, 2013 The authors have no financial or proprietary interest in the materials presented herein. Address correspondence to Rebecca Renwick, PhD, OT Reg (Ont), Director, Quality of Life Research Unit, Department of Occupational Science & Occupational Therapy, #160-500 University Avenue, Toronto, Ontario, Canada M5G 1V7; e-mail: [email protected]. doi:10.3928/15394492-20131118-01 OTJR: Occupation, Participation and Health • Vol. xx, No. x, 20XX 1 & Pretes, 2007; Darke, 1998; Levers, 2001; Mitchell ideally, stories told by people with disabilities them- & Snyder, 2001; Shakespeare, 1999). Yet literature selves—can work to effect new understandings about media representations of people with IDD (Fudge Schormans, 2005). By offering more authen- is sparse, and none examines film portrayals of tic images of the capabilities, experiences, and occu- their occupational participation. Similarly, occupa- pations of people with disabilities, mainstream me- tional participation is considered fundamental to dia could work toward more informed, accepting, health and well-being (Townsend & Polatajko, 2007) and inclusive attitudes and behavior toward people but remains a significantly under-researched area. with IDD and facilitate improved occupational op- These issues are at the heart of this study examin- portunities for them. ing occupational portrayals of adults with IDD in Individuals with IDD often encounter prejudice, contemporary Hollywood films. The relevance and discrimination, and stigma at the levels of public implications of such representations for occupa- opinion, public systems, and public policy that im- tional science are also considered. pact their lives (Carll, 2003). They are often permit- There is ongoing debate around the use of lan- ted little control over their own lives, even though guage, in particular, whether it is preferable to use most are more capable than is generally assumed. “disabled people” or People First language (e.g., Research suggests they typically lack the opportu- people with IDD; see Titchkosky, 2011). In Canada, nity (more than the ability) to express preferences People First language is that chosen by self-advo- and make choices in their lives (Fudge Schormans, cates and other people with IDD and, in recognition Krause, MacDougall, & Wattie, 2011), including and support, will be used in this article. their occupational participation. These constraints can affect well-being and quality of life by limit- Media, Occupational ing the scope, quantity, and quality of their occu- Participation, and Disability pational opportunities and participation (Renwick, 2004, in press). If such occupational deprivation is Ample literature illustrates the powerful influ- the case in the actual lives of people with IDD, how ence of entertainment media on commonly held is this depicted in cinematic representations of their public stereotypes about people with disabilities— lives? who they are and what they do (Black & Pretes, These reported experiences of individuals with 2007; Garland-Thomson, 2009; Haller, 2010; Levers, IDD, combined with the documented influence of 2001). Shakespeare (1999), citing “the power of im- the media on attitudes and behavior, argue for an ages to define the experience of impairment, and to examination of the potential contribution of Hol- foster prejudicial attitudes towards disabled peo- lywood films to the continued marginalization—or ple” (p. 164), noted the historical distortion of dis- emancipation—of labeled individuals. While studies ability discourses in representations of people with of people with physical and mental health disabili- disabilities. Visual representations are especially ties in film do not explicitly address occupation, cri- important as they are generally presumed by au- tiques of disability representations include referenc- diences to represent truths about disability (Darke, es to depictions of the things people with disabilities 1998). Yet, what the viewer is given to be seen are do and the ways they do them. Commonly perpetu- often the dominant fictions about ability and dis- ated stereotypes include film characters with men- ability. Despite good intentions and attempts by the tal health issues portrayed as “dangerous” and/or film industry to portray disability in a positive, em- sexually deviant people (Levers, 2001). Characters powering light, depictions are generally not reflec- with physical disabilities are often stereotypically tions of lived experience (Sarrett, 2011). Moreover, portrayed as angry about their disabilities (Black mainstream media, such as films, often provide the & Pretes, 2007). Such unidimensional portrayals do sole exposure, or experience, that nondisabled indi- not permit them to demonstrate other complex emo- viduals have with people with disability, thus play- tions and behaviors. Characters stereotyped as “in- ing a critical role in creating social understandings capable” are depicted as unable to make decisions, and expectations (Farr, 1993). hold a job, or care (or direct care) for themselves This understanding of the powerful influence of without others’ help (Levers, 2001). Characters with media on individual attitudes and behavior has led disabilities are typically objectified such that their to the growing recognition that “today’s media of impairments are seen as their most important, if not mass communication—film and video… [could] be only, characteristic (Haller, 2010). The central plots powerful agents of enlightenment” (Levers, 2001, of film narratives often revolve around revenge or Conclusion, para. 2.). Telling different stories— the search for a cure (Davis, 2002). Whether intended 2 Copyright © American Occupational Therapy Foundation as positive or negative, such portrayals ultimately Occupational Perspective serve to perpetuate tenacious stereotypes, damaging Occupational participation contributes to shap- attitudes, and ignorance about the lived experience ing identity, meeting individual and community of disability (Haller, 2010), including participation in goals and needs, and developing skills and resourc- important, necessary, and satisfying occupations es- es, as well as meaning in life, health, and well-being sential to a good quality of life. (Christiansen & Townsend, 2010; Renwick, 2004). It Existing literature makes it clear that Hollywood is best understood as a dynamic process interweav- has typically failed to present acceptable represen- ing the person, the occupation(s), and the context tations of disability (Haller, 2010; Mitchell & Sny- (environment), rather than as three separate ele- der, 2001). Disability studies researchers argue that ments (Townsend & Polatajko, 2007). Further, oc- “negative” and “positive” representations, both cur- cupational participation requires the application of rent and historical, provide unacceptable portray-