Media Performative Identity And The New American Freak Show

This book traces how the American freak show has re-emerged in new visual forms in the 21st century. It explores the ways in which moving image media transmits and contextualizes, reinterprets and appropriates, the freak show model into a “new American freak show.” It investigates how new freak representations introduce narratives about sex, gender, and cultural perceptions of people with disabilities. The chapters examine such representations found in horror films, including a prolonged look at Freaks (1932) and The Texas Chainsaw Massacre (1974), documentaries such as Murderball (2005) and TLC’s Push Girls (2012-2013), disability pornography including the pornographic documentary Sick: The Life and Death of Bob Flanagan Supermasochist (1997), and the music icons Marilyn Manson and Lady Gaga in their portrayals of disability and freakishness. Through this book we learn that the visual culture that has emerged takes the place of the traditional freak show but opens new channels of interpretation and identification through its use of mediated images as well as the altered freak-norm relationship that it has fostered. In its illumination of the relationship between normal and freakish bodies through different media, this book will appeal to students and academics interested in disability studies, gender studies, film theory, critical race theory, and cultural studies.

In this book, Jason B. Dorwart contends that the material presence of visible disability disrupts the framing devices that provide safe distancing for theatre’s fictive nature. Conceptions of disability that place the disabled body into a permanently liminal space between life and death are directly at odds with theatrical performances, which are geared toward moving through liminality into a new point of stasis. Dorwart reveals how this contradiction leads to performance practices that work to marginalize and eliminate the presence of disabled bodies of both character and actor, as disabled characters have historically been written with different character arcs than nondisabled characters and with the assumption that they would be played by nondisabled actors. As more disabled actors gain exposure in film and theatre, the difference in how disabled characters are written is also increasingly affected by whether the role is intended for a disabled or nondisabled actor. These performances are enacting new means to performatively and figuratively reincorporate or eliminate the liminal disabled body. The Incorporeal Corpse demonstrates how recent plays and films try to rectify this tension between the permanence of disability and the transitory nature of performance. Scholars of theatre, disability studies, and performance studies will find this book of particular interest.

Disney – This name stands not only for a company that has had global reach from its early days, but also for a successful aesthetic programme and ideological positions that have had great commercial success but at the same time have been frequently criticised. Straddling traditionalism and modernism, Disney productions have proven adaptable to social discourses and technical and media developments throughout its history. This volume brings together scholars from several European countries to explore various dimensions that constitute ‘Disney.’ In line with current media and cultural studies research, the chapters deal with human-human and human-animal relations, gender and diversity, iconic characters and narratives, Disney’s contribution to cultural and visual heritage, and transmedial and transfictional spaces of experience and practices of participation associated with Disney story worlds.

This open access edited volume explores physical disability and sexuality in South Africa, drawing on past studies, new research conducted by the editors, and first-person narratives from people with physical disabilities in the country. Sexuality has long been a site of oppression and discrimination for people with disabilities based on myths and misconceptions, and this book explores how these play out for people with physical disabilities in the South African setting. One myth with which the book is centrally concerned, is that people with disabilities are unable to have sex, or are seen as lacking sexuality by society at large. Societal understandings of masculinity, femininity, bodies and attractiveness, often lead people with physical disabilities to be seen as being undesirable romantic or sexual partners. The contributions in this volume explore how these prevailing social conditions impact on the access to sexual and reproductive healthcare, involvement in romantic relationships, childbearing, and sexual citizenship as a whole, of people with physical disabilities in the Western Cape of the country. The authors' research, and first person contributions by people with physical disabilities themselves, suggest that education and public health policy must change, if the sexual and reproductive health rights and full inclusion of people with disabilities are to be achieved.

Circuses and film are a natural pairing, and the new essays making up this volume begin the exploration of how these two forms of entertainment have often worked together to create a spectacle of onscreen alchemy. The films discussed herein are an eclectic group, ranging from early silent comedies to animated, 21st century examples, in which circuses serve as liminal or carnivalesque spaces wherein characters--and by extension audience members--can confront issues as far-reaching as labor relations, sensuality, identity, ethics, and more. The circus as discussed in these essays encompasses the big top, the midway, the sideshow and the freak show; it becomes backdrop, character, catalyst and setting; and it is welcoming, malicious or terrifying. Circus performers are family, friends, foe or all of the above. And film is the medium that brings it all together. This volume starts the conversation about how circuses and film can combine to form productive, exciting spaces where almost anything can happen.

This issue of Physical Medicine and Rehabilitation Clinics will cover a number of important topics related to Para and Adapted Sports Medicine. The issue is under the editorial direction of Drs. Yetsa Tuakli and Wayne Derman. Topics in this issue will include: Representations of self and disability through para sport; Prosthetics in para sport; Evidence-based classification of para athletes; Autonomic nervous system in para athletes with spinal cord injury; Training and performance characteristics of para swimmers; Concussion in para athletes; Engineering and technology in wheelchair sport; The Athlete with brain injury; Social inclusion through para sport; and Para athletic identity from competition to retirement.

This book, the first to specifically focus on disability hate speech, explains what disability hate speech is, why it is important, what laws regulate it (both online and in person) and how it is different from other forms of hate. Unfortunately, disability is often ignored or overlooked in academic, legal, political, and cultural analyses of the broader problem of hate speech. Its unique personal, ideological, economic, political and legal dimensions have not been recognized – until now. Disability hate speech is an everyday experience for many people, leaving terrible psycho-emotional scars. This book includes personal testimonies from victims discussing the personal impact of disability hate speech, explaining in detail how such hatred affects them. It also presents legal, historical, psychological, and cultural analyses, including the results of the first surveys and in-depth interviews ever conducted on this topic in some countries. This book makes a vital contribution to understanding disability hatred and prejudice, and will be of particular interest to those studying issues associated with hate speech, disability, psychology, law, and prejudice.

A groundbreaking anthology that probes the disposition towards the visually different Giants. Midgets. Tribal non-Westerners. The very fat. The very thin. Hermaphrodites. Conjoined twins. The disabled. The very hirsute. In American history, all have shared the platform equally, as freaks, human oddities, their only commonality their assigned role of anomalous other to the gathered throngs. For the price of a ticket, freak shows offered spectators an icon of bodily otherness whose difference from them secured their own membership in a common American identity--by comparison ordinary, tractable, normal. Rosemarie Thomson's groundbreaking anthology probes America's disposition toward the visually different. The book's essays fall into four main categories: historical explorations of American freak shows in the era of P.T. Barnum; the articulation of the freak in literary and textual discourses; contemporary relocations of freak shows; and theoretical analyses of freak culture. Essays address such diverse topics as American colonialism and public presentations of natives; laughing gas demonstrations in the 1840's; Shirley Temple and Tom Thumb; Todd Browning's landmark movie Freaks; bodybuilders as postmodern freaks; freaks in Star Trek; Michael Jackson's identification with the Elephant Man; and the modern talk show as a reconfiguration of the freak show. In her introduction, Thomson traces the freak show from antiquity to the modern period and explores the constitutive, political, and textual properties of such exhibits. Freakery is a fresh, insightful exploration of a heretofore neglected aspect of American mass culture.