We Can Do Better: The Significance of Accurate Disabled Character Representation in Animation [Character Locomotion - Academic Writing Assignment - Blog Post 3]

We Can Do Better

The Significance of Accurate Disabled Character Representation in Animation

The depiction of disabled characters in media is increasing (Aspler, Harding and Cascio, 2022), however, recent studies shows that limited progress has been made to positively represent disabled characters on screen (Holcomb and Latham-Mintus, 2022). Furthermore, representation of characters often falls into harmful stereotypes (BBC The Social, 2019) and fail to recognise the range of diversity within the disabled community (Worrell, 2018; Aspler, Harding and Cascio, 2022). The term ‘disabled people’ (DP) will be used throughout this study to champion the social model of disability (Cheu, J. (2013), a perspective highlighting that people are disabled by the able-bodied centric societal constructs (Young, 2014). This research analyses the positive and negative depictions of physically and cognitively disabled characters in Finding Nemo (2003) and Finding Dory (2016) to highlight the impact of disabled representation in media on society.

Harmful perspectives on disability are prevalent throughout society (Johanssen and Garrisi, 2020). This is often rooted in poor representations of DP in media, which often acts as society’s primary source of education on disability (Worrell, 2018). Marlin from Finding Nemo (2003) acts as an overprotective parent and reinforces the challenges faced by Nemo’s physical disability. Marlin tells Nemo he can’t do certain things and intervenes instead of supporting Nemo in overcoming his challenges independently (Finding Nemo, 2003, 12:30). While DP do encounter challenges (Holcomb and Latham-Mintus, 2022) and may need assistance in certain scenarios (Oulton, 2018) these scenes exaggerate the challenges faced by DP (Cheu, 2013) and amplify the stereotype that DP are helpless and require support by abled-bodied people (Holcomb and Latham-Mintus, 2022). This aligns with the medical model of disability that positions disability as something in need of curing (Cheu, 2013). There is some redemption in a later scene (Finding Nemo, 2003, 29:40), where Nemo becomes stuck, and Gill offers tough love to give Nemo the confidence to overcome the challenge. However, Marlin’s portrayal reflects the perspective that “If society says an individual with a disability can’t do something, an individual with a disability may believe this as well” (Worrell, 2018, p.80). This dampens the films attempt at positive representation and instead magnifies society’s evolutional lag to recongise DP as capable rather incapable (Smith and Alaniz, 2019).  

Figure 1. Screenshot from Finding Nemo (2003, 29:40) showing Nemo stuck in the tube and Gill offering tough love to help Nemo overcome this hurdle independently.

Through the social model of disability, it is important to recognise that DP will face barriers when traversing the able-bodied centric world and individual accessibility needs will vary between different people and disabilities (Ellis and Kent, 2010). Therefore, it is common that DP will develop strategies to engage with the world (BBC The Social, 2019). This concept is something that Finding Dory (2016) mostly represents effectively by showcasing the challenges Dory faces with her short-term memory loss and her strategies she develops to overcome them. The film frequently shows Dory forgetting key pieces of information, such as the location of her parents (Finding Dory, 2016, 10:00), however, it also shows how she uses visual triggers that allow her to build her memory. An example is when discovering a seashell triggering a memory of how her parents taught her to find her way home independently (Finding Dory, 2016, 28:30). Over the duration of the film, we witness her developing proficiency and confidence with this strategy, which eventually leads her to reunite with her parents. This further highlights her independence when she embarks on an escapade to rescue Nemo and Marlin and reassures her parents that even if she becomes lost, she will be able to find them again (Finding Dory, 2016, 1:15:00). This is positive depiction celebrates how Dory’s brain works differently, similar to other cognitive disabilities such as ADHD (Barnard-Rae, 2022), and accentuates the advantages of different cognitive strategies in solving problems faced by everyone (Tonti, 2013).

Although representing Dory using strategies to solve problems linked to her disability is praiseworthy, the film’s plot revolves heavily around her disability. This is a common negative stereotype in media (Worrell, 2018) and glorifies the ‘supercrip’ concept, which positions DP’s strategies as exceptional and super-human. This places unrealistic pressure on the disabled community and cements unrealistic expectations of disability for audiences (Cheu, 2013; Johanssen and Garrisi, 2020). This is highlighted when Nemo and Marlin pose the question “What would Dory do?” (Finding Dory, 2016, 47:00) as a solution to a challenge. Whilst this celebrates cognitive diversity, it also positions Dory’s strategies as a superpower that can be harnessed to solve problems, which may not work for everyone with cognitive disabilities. Worrell (2018) highlights that the best representation of DP in media is when the disability is not the central focus of the plot or something to be overcome but instead highlights realistic challenges. Therefore, whilst the depiction of Dory’s strategies is positive, it would have been stronger if this was not the main narrative driver.

Figure 2. Screenshot from Finding Dory (2016, 1:08:53) showing Dory reuniting with her parents, which is the main plot driver in this film.

Finding Dory (2016) features a profound scene that demonstrates both the emotional and physical benefits of an inclusive world. Destiny, a visually impaired character who worries about bumping into walls, panics about the walls she will encounter in the ocean. However, Bailey reassures her that there aren’t any walls there, which fills Destiny with confidence (Finding Dory, 2016, 1:13:00). This scene serves as a powerful commentary on the social model of disability, linking the barriers faced by DP to the emotional stress they impose and reflecting a desire for a utopian world free of barriers (Oulton, 2018). Ellis and Kent (2010) highlights how an able-bodied centric approach to industrial and technological advancement has created challenges for DP, and how adopting an accessible approach will benefit everyone. An accessible world will normalise disability through building inclusive environments and acknowledging disability as another dimension of diversity that defines humanity.

In summary, Finding Nemo (2003) and Finding Dory (2016) demonstrate positive and negative representations of DP in animation, with the latter showing some improvements. This aligns with Asper, Harding and Cascio’s (2022) research which shows that while representation is slowly increasing, media still needs to better depict the complex diversity of disability. Therefore, media should include a diverse range of disabled characters that accurately reflects diversity in society. However, Worrell (2018) found that in 2012, disabled characters in media equated to roughly half of the amount identified in the US Census. Whilst these statistics are somewhat dated, the historical impact of negative stereotypes that misinform audiences about disability. Successful media that positively represents DP includes disabled actors and consults the disabled community to ensure accurate depiction (Cheu, 2013). This will increase positive representation, influence societal views, particularly with younger generations through children’s media (Holcomb and Latham-Mintus, 2022), and challenge historical stereotypes.

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Reference List

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