Academy Awards and Film Disability

speaking of disability narratives. https://t.co/rTYmKeVsoP

— David M. Perry (@Lollardfish) March 5, 2018

Million Dollar Baby was heavily criticized by disability groups for promoting the view that being paralyzed was worse than being dead. This, of course, was also the case for the less-critically-successful Me Before You. You can see an archive of such responses here.

For Shape of Water, see Sara Nović at CNN. She writes:

Critics have been quick to declare the film a positive representation of disability -- Elisa is employed, independent and a sexual being, a rarity for a group of people often portrayed in movies and books as childlike and asexual. Then again, the only one who finds her sexually desirable is a semi-human sea creature.

Also problematic is Hawkins' American Sign Language, her only mode of communication in the film, which is abysmal -- halting, stilted and not at all like someone who'd been signing since she was a child.

On The Shape of Water

Two good pieces criticizing The Shape of Water from disability perspectives.

From Kim Sauder:

Her character—like all of the characters in the film—is one-dimensional. She is a mishmash of disability stereotypes. She is a social outsider who is largely perceived to be “other”. She clearly longs for more inclusion but is unable to get it. She experiences only simplistic emotions that seem more appropriate to a toddler than they do to a grown woman who has not one but two gratuitous masturbation scenes (so you can throw in creepy sexualization of innocence as well).

The lack of emotional range for the character is really down to the performance given by Sally Hawkins. I have seen many people applaud the silence of her performance but silence isn’t a performance, it is a narrative choice. A performance would be everything that the character does outside of that silence. Which in this case is predominantly very simplistic facial expressions and a very little amount of sign language. What that amounts to is that Elisa’s character has less to do with her character or the performance given by Hawkins than it does with the storytelling around it.

Silence is a narrative choice.

Sauder continues:

The Shape of Water could so easily be a different kind of horror film about the dangers of social denial of the sexuality of disabled people and how that makes them easy targets for abusers. Instead, it does exactly that story but ignores the inherent dangers of becoming infatuated with the first man who pays you any attention because the world has spent decades telling you that you are undesirable. It takes what should be a cautionary tale and turns it into a bittersweet romance. In so doing it absolves the bigoted world that rejected Elisa and ends on the message that if the world doesn’t work for you, even if it’s clearly the result of discrimination that the best option is to leave.

READ THE WHOLE THING!

Elsa Sjunneson-Henry writes:

At its core, The Shape of Water asks us to consider what a freak is. Is a monster a god? Is a disabled woman a freak? An outsider? Can she be loved or understood by her own kind, or are the monsters the only ones who can truly understand her?

Unfortunately, the answer to this movie was that no, she cannot be loved by her own kind, and yes, she is an outsider. A monster. A freak. She belongs under the water with her beloved Aquatic Monster. We don’t know this for certain, that she lives—in fact all signs point to the idea that she is dying or dead at the movie’s end. But if I accept that she is dead, then the film ends as all disabled films do: in ultimate, inevitable tragedy. So I choose to imagine the slightly less angering of two evils.

READ THE WHOLE THING!