MM9 - Media Representation of Disability

Stereotypes of the Disabled

Media representations of disability have historically relied on stereotypes that reduce disabled people to one-dimensional characters rather than reflecting the diversity of real lives. Barnes (1992) identified ten common stereotypes of disability in the media, many of which continue to appear today. These stereotypes shape how audiences understand disability and often reinforce ableist assumptions.

One common stereotype is the pathetic disabled character, where disability is used to evoke pity and sympathy rather than show independence or agency. A classic example is Tiny Tim in A Christmas Carol. Another is the object of curiosity, where disabled people are treated as spectacles, such as in The Elephant Man, focusing on difference rather than humanity.

Disability is also frequently linked to danger or villainy in the sinister or evil stereotype, seen in characters like Captain Hook. In contrast, the super cripple stereotype presents disabled characters as inspirational heroes who overcome their impairments, such as Daredevil. While seemingly positive, this creates unrealistic expectations and suggests disabled people must be exceptional to be valued.

Other stereotypes include disability being used to establish atmosphere in horror films, disabled characters being laughed at for entertainment, or shown as their own worst enemy, blamed for their struggles. Disabled people are often portrayed as a burden on family members, as non-sexual, or as unable to participate in normal life, reinforcing exclusion and dependency. According to Tom Shakespeare, these repeated portrayals marginalise disabled people and rarely reflect everyday lived experiences.

Representation of Physical Disability

The media often represents children as cute and innocent, portraying them as sweet, vulnerable, and in need of adult protection. This representation is common in advertising and early-years television, where children are shown as wide-eyed, playful, and dependent. Programmes such as Hey Duggee and family animations like Toy Story reinforce the idea that childhood is a time of simplicity and emotional innocence. These portrayals encourage adults to see children as fragile and in need of safeguarding.

In contrast, children are also frequently shown as mischievous or disruptive, sometimes described as “little devils.” Characters such as Bart Simpson in The Simpsons present children as rule-breakers who challenge adult authority. While these portrayals are often played for humour, they can normalise antisocial behaviour and suggest that bad behaviour has few consequences. Heintz-Knowles’ content analysis found that antisocial behaviour in children’s television is often rewarded and that narratives focus heavily on peer relationships and romance rather than serious issues affecting children’s lives.

Another common representation is the brilliant child, where children are shown as unusually intelligent or gifted. Characters such as Matilda or Young Sheldon are portrayed as possessing exceptional academic abilities beyond their years. These portrayals challenge the idea that children lack intelligence, but they also create unrealistic expectations by suggesting that children must be extraordinary to be valued.

Children are also sometimes represented as brave and heroic, particularly in fantasy and science fiction. Characters in Harry Potter and Stranger Things face danger, responsibility, and moral choices usually associated with adulthood. While these portrayals show children as resilient and capable, they still present childhood as exceptional rather than ordinary, reinforcing unrealistic ideas about maturity.

The media also increasingly portrays children as accessories to adult lifestyles, particularly in celebrity and influencer culture. Children of celebrities and social media influencers are often used to reflect fashion, wealth, or family branding rather than individuality. This reflects consumerist values and supports Heintz-Knowles’ conclusion that entertainment media often reflects adult perspectives rather than children’s real experiences.

More recently, the modern child has emerged in media representations. Children are now often shown as tech-savvy, socially aware, and engaged with global issues. News programmes, eco-themed children’s media, and young influencers present children as informed and independent, reflecting changing expectations about childhood in a digital society.

Neil Postman’s theory of the disappearance of childhood is especially relevant in this context. He argues that television—and now social media—exposes children to adult knowledge and themes such as sexuality, violence, and consumerism at an early age. Platforms like TikTok, YouTube, and Instagram blur the boundary between childhood and adulthood, eroding traditional ideas of childhood innocence and supporting Postman’s claim that childhood is no longer a clearly protected life stage.

Representation of Mental Disability

Mental disability has historically been one of the most negatively portrayed forms of disability in the media, particularly in news reporting, television drama, and film. Research by Philo (1999) for the Glasgow University Media Group (GUMG) found that mental illness is frequently linked to violence, danger, and criminality, especially in news coverage. High-profile crimes involving individuals with mental health conditions are often exaggerated or sensationalised, creating the impression that people with mental illness pose a threat to society. This is despite evidence that people with mental health conditions are far more likely to be victims of violence than perpetrators.

GUMG argue that this pattern of representation creates moral panic and fear, encouraging audiences to associate mental illness with unpredictability and risk. This reinforces stigma and contributes to public mistrust, which can affect everything from social relationships to employment opportunities for those with mental health conditions.

In television and film, mental disability is often portrayed through extreme or distorted narratives. Characters are frequently shown as unstable, dangerous, or out of control, rather than as ordinary people managing a condition. For example, films such as Joker and Split link mental illness directly to violence, reinforcing the stereotype that mental disability leads to criminal behaviour. Sociologists argue that these portrayals oversimplify complex conditions and ignore social factors such as poverty, trauma, or lack of support.

Another recurring issue is that the media rarely represents recovery or long-term management of mental health conditions. GUMG found that treatment, therapy, and successful coping strategies are largely absent from media narratives. Instead, stories tend to end in tragedy or crisis, which presents mental illness as permanent and hopeless. This can discourage people from seeking help and deepen feelings of shame or isolation.

Some contemporary television has attempted to offer more nuanced portrayals. Series such as Euphoria and 13 Reasons Why explore mental health issues such as anxiety, depression, addiction, and trauma in greater depth. However, sociologists have criticised these programmes for still relying heavily on dramatic and distressing storylines, sometimes prioritising emotional impact over accuracy. This can blur the line between raising awareness and reinforcing harmful myths.

From a sociological perspective, these portrayals reflect the medical model of disability, which views mental illness as an individual problem located within the person. Oliver (1990) criticises this approach, arguing that it ignores the role of social factors such as stigma, lack of mental health services, and media misrepresentation. By focusing on symptoms and danger rather than social context, the media reinforces exclusion rather than understanding.

How the disabled view their representation 

Disabled audiences themselves are often highly critical of how disability is represented in the media, arguing that portrayals are created about them rather than with them. Ross (1996) conducted a study of 384 disabled viewers to examine their attitudes towards media representations of disability. His findings revealed widespread dissatisfaction, with many respondents feeling that portrayals were inaccurate, repetitive, and damaging.

One of the most common criticisms identified by Ross was the infantilisation of disabled characters. Disabled people were frequently shown as child-like, dependent, or lacking agency, which reinforces the idea that they are incapable of making decisions or living independently. Viewers also criticised the unrealistic and sanitised portrayal of disability, where the everyday challenges, discrimination, and barriers faced by disabled people were ignored in favour of simplified or emotionally appealing narratives.

Ross found that the media relies heavily on a restricted repertoire of character types, meaning disabled characters are shown in very limited roles. These roles often fail to reflect the diversity of disabled experiences and instead repeat familiar stereotypes. Respondents noted the persistent use of visual symbols, such as wheelchairs, white sticks, and guide dogs, as shorthand for disability. While easily recognisable, these symbols create a narrow image and exclude those with less visible or more complex disabilities.

Another key concern was the association of disabled roles with negative emotions, particularly anger, bitterness, or frustration. Disabled viewers argued that this framing presents disability as something that inevitably leads to unhappiness, reinforcing the belief that disabled people cannot live fulfilling lives. Ross also found that disabled characters were rarely shown as able to live ordinary lives, such as having jobs, relationships, families, or independence, which strengthens stereotypes of dependency and social exclusion.

Importantly, Ross highlighted the lack of first-hand experience among media practitioners. Disabled people are rarely involved in writing, producing, or directing media content, meaning representations are often based on assumptions rather than lived experience. This exclusion leads to portrayals that reflect the viewpoints of non-disabled creators and reinforces ableist perspectives within the media.

Effect of Telethons 

Telethons are televised charity fundraising events that aim to raise money for disability-related causes, but sociologists have long criticised them for the way they represent disability and shape public attitudes. Rather than challenging inequality, telethons often rely on emotional appeals based on pity and sympathy, which can reinforce negative and outdated views of disabled people.

Roper (2003) argues that telethons create problems by presenting a narrow and selective image of disability. They frequently focus on disabled children, who are portrayed as innocent, vulnerable, and dependent. While this approach is effective for encouraging donations, it is not representative of the wider disabled population, the majority of whom are adults. This focus suggests that disability is something tragic that happens to individuals, rather than a social issue shaped by barriers, discrimination, and lack of access.

Roper also highlights that telethons promote the idea that charity is the primary solution to disability-related disadvantage. By encouraging viewers to donate, telethons imply that support for disabled people should come from individual generosity rather than from governments providing equal access, welfare support, and legal protections. This reinforces the individual or medical model of disability, where the problem lies with the disabled person rather than with society.

Similarly, Karpf (1988) argues that telethons represent disabled people as passive recipients of care, rather than as active, independent members of society. Disabled people are rarely given a voice in telethon broadcasts and are often spoken about rather than spoken to. This denies them agency and reinforces stereotypes of dependency and helplessness.

Karpf also suggests that telethons are designed to make non-disabled audiences feel good about themselves. Viewers are positioned as generous “givers”, while disabled people are positioned as grateful “receivers”. This creates an unequal power relationship and allows audiences to feel sympathy or relief without engaging with deeper issues such as discrimination, accessibility, or social exclusion. As a result, telethons tend to entertain rather than inform, offering emotional stories instead of education about inequality.

Theoretical Perspectives