The long read: For centuries, fictional narratives have used outer difference to telegraph inner monstrosity. As someone who uses a wheelchair, I’ve learned you can’t just edit out a few slurs or bad words to fix this – it’s often baked deep into the story
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In Skyfall, Javier Bardem’s Raoul Silva is a striking example of the narrative logic at work. He at first appears handsome and polished , but something about his face seems a little … off. He then reveals himself as a villain by removing a set of hidden facial prosthetics. As his visage literally collapses, his inner monstrosity comes into view. Now Bond, and the audience, can see who heAnd that is the main function of disability in these stories – an outwardly visible sign of an inner quality.
I said yes to the audition, of course. I was curious, flattered, and wanted to know whether I would completely embarrass myself. But I also wanted to know what the experience of playing a disabled character in a mainstream television series would be like. In addition, there was only only airline with a direct flight from Oslo to Vilnius, and, like most low-budget airlines, it was notoriously bad at disability accommodation. I did my due diligence, spending hours online in order to find out the exact dimensions of the cargo doors for the plane on this particular flight, probably being flagged as a “person of interest” by some agency or other in the process.
This final scene we shot was by far the most interesting one to me in terms of disability representation, though it had nothing to do with the good/evil binary. My character used an electric wheelchair. This was no problem in the office and hospital scenes; plenty of room. But it would not fit in the back seat of a limo.
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