Introduction
Three modes of understanding disability are the Moral, Medical and Social models (Marini & Stebnicki, 2009). The Moral Model has symbolic meaning, religious in nature where intervention is moral and focused on internal aspects of the person rather than on the physical self; in the Medical Model disability is stripped of moral symbolism and represents an abnormality contained within a person’s corporeal self where intervention focuses on amelioration of the abnormality; in the Social Model disability is conceptualized as a social construct where handicap lies within the mismatch of abilities and the environment, and intervention is aimed at social, economic, political, and environmental factors rather than personal abilities (Marini & Stebnicki, 2009).
The Social Model of disability will act as a lens to view and critique the portrayal of people with disabilities (PWD) in a film entitled Rory O’Shea Was Here. An analysis of the underlying meaning of the film and the impact this may have on viewers' perception of disability will be discussed within the construct of a binary between abled and disabled. Formulations of generally accepted notions of disability as tragedy with the need for overcoming adversity and death before disability will be examined, as well as themes, language, images, and the social implications of the film’s message, in terms of the depiction of disability.
Disability as Tragedy
The protagonist, Rory O’Shea, has muscular dystrophy and the supporting character, Michael Connolly, has cerebral palsy. Both have limited mobility and use motorized wheelchairs. The opening scene depicts Michael in a convalescent home unable to speak and warn his attendant an electrical cord is stretched across the floor causing another attendant to trip and drop a vase with flowers. This sets the tone for the remainder of the film marked by situations involving tragedy and the need to overcome adversity. The protagonist and his sidekick are...