The film “Vision Portrait,” follows the experiences of various individuals with vision impairments, challenging the typical representations of disability and creating a piece of art that can be considered representative of the reality of living with a disability in an ableist society. The messages and experiences described by those participating in the interviews support the concept of ableism, addressing narratives that are typical when looking at disability. Although the film does not appear to go into detail explicitly about ableism and the oppression that the individuals who are featured experience, it reveals the underlying issues of the unrealistic internal pressures felt and the misrepresentation of individuals with disability that able-bodied members of society place upon them as a means of exclusion.
A common feeling expressed by several of the individuals featured in this film was the feeling of needing to pass as someone without a disability, sharing the negative implications experienced as a result of this desire to appear able-bodied. As seen in the film, attempting to pass as able-bodied can be incredibly dangerous for an individual with visual impairments. The white cane is typically used as a resource for scanning an area that cannot be seen clearly and is an essential tool but, it is also a visible indication of disability which is why some of the interviewees were hesitant to accept their need for the cane initially. In “Integrating Disability, Transforming Feminist Theory,” Garland-Thomson suggests that the system of disability is why this idea of passing is present and that it is due to the fact that this system isolates differences and markets the individuals as either able-bodied or disabled, the latter being seen as less favourable in many cases (Garland-Thomson 260, 2013). This way of thinking is challenged and diminished during the film as Kayla, a woman who continues to deal with several health conditions leading to the deterioration of her eyesight, markets her disability as an advantage instead of a negative feature. Kayla explains that she tried to pass as able-bodied for several years, attempting to keep up with her able-bodied dance team regardless of her inability to track their movements and stay in sync. Not only is this an example of the lengths that individuals with disabilities feel they must go to in order to pass, it enforces the idea that by feeling the need to pass, individuals sacrifice their own enjoyment for the comfort of those around them. Kayla explains that once she stopped struggling to pass, she was able to enjoy dance by embracing her disability and using it as a means of expression to show a new perspective to her predominantly able-bodied audiences.
Continuing on the argument of passing, it is important to note that institutional passing is essential to the success of many individuals with disability. In “Being in Question,” the author puts forth the idea of institutional passing (Ahmed 127, 2017). In simple terms, this means that within institutions, the individual is capable of appearing able-bodied which often aids in the progression of one’s career. The concept of institutional passing is evident in the film as Ryan Knighton is heard discussing with an acquaintance the degree of disclosure they provide about their disability when applying for a job. Both agree on the fact that they are unsure of whether they should be honest and embody their disability or if they should conceal their truth to increase their chances of being chosen for the job. Ultimately, institutional passing is a complicated concept because no matter which way the individual presents themselves, there is a possibility of a negative outcome, as seen in this film.
In terms of passing, the goal is to appear able-bodied as mentioned above. This desire to fit the norm aligns closely with the common narrative of the “supercrip,” as explained in Harnett’s article “Escaping the Evil Avenger and the Supercrip: Images of Disability in Popular Television (Harnett 22, 2000).” The term “supercrip” is used in this article to describe the common narrative that is given to characters with disabilities in television programs, making the goal of this character to succeed despite their disability and to overcome one’s disability. It is evident that the motivation behind this film is to show the reality of visual impairments and that having a disability does not need to be equated with poor life quality. To some degree, this may appear as an attempt to show triumph over disability but, unlike the trope of the supercrip, this film shows the struggles of the individuals with disabilities that cannot be overcome, creating a depiction of life with a disability that can be relatable to a greater number of people living with disabilities. This is clear as Rodney Evans travels great distances to receive a treatment that could possibly restore his vision. Following the procedures, Evans says that there is a very small improvement in his vision, if at all. Since this film is a documentary, the characters are not developed and therefore the supercrip trope would not be added into the plot but, this form of openness and honesty from Evans about his inability to overcome his disability creates a narrative for other individuals with disabilities to relate to.
This film showed the good, the bad and the ugly when it comes to living with a visual impairment. Through the use of personal anecdote, this film challenges ableism by proudly exhibiting disability for what it is, providing a representation of disability that can be relatable and education rather than oppressive. This film dismissing the tropes associated with disability represented through television and provides a new understanding of disability for both able-bodied audience members and individuals with disabilities, acknowledging that everyone experiences disability differently but tend to be categorized and grouped together as a marginalized group.
(Word Count: 959)
MEET THE CAST!
References
Ahmed, S. (2017). Being in Question | Living a Feminist Life | Books Gateway | Duke University Press. [online] Read.dukeupress.edu. Available at: https://read.dukeupress.edu/bo oks/book/1933/chapter/191590/Being-in-Question [Accessed 11 Feb. 2020].
Garland-Thomson, R. (2013). Integrating Disability, Transforming Feminist Theory. [online] English.upenn.edu. Available at: https://www.english.upenn.edu/sites/www.english. upenn.edu/files/Garland-Thomson_Rosemarie_Disability-Feminist-Theory.pdf [Accessed 11 Feb.2020].
Harnett, A. (2000). Escaping the Evil Avenger and the Supercrip: Images of Disability in Popular Television. [online] Arrow.tudublin.ie. Available at: https://arrow.tudublin.ie/cgi/viewcontent.cgi?article=1077&context=icr [Accessed 11 Feb. 2020].
Vision Portraits Blog 