Book Review: Disabled People Transforming Media Culture for a More Inclusive World by Beth A. Haller

In Disabled People Transforming Media Culture for a More Inclusive World, Beth A. Haller discusses the influence of people with disabilities in creating new forms of media and culture to change society's perception of disability. Comprehensively, the book explores how disabled people have over the decades become a marginalized group by the mass media and how people with disabilities are utilizing new media platforms to present their authentic selves and encourage a more inclusive media culture. Overall, the book consists of an introductory chapter and 7 discussion chapters. In the introductory chapter, Beth A. Haller provides a strong foundation for the book based on her experience as a professional journalist and disability media content researcher. Her proximity to the lives of people with disabilities has resulted in critical thinking regarding how the disability community should be seen, understood and valued by the media. Misrepresentations by mainstream media often lead to negative stereotypes and biases against disabled people (Teng & Joo, 2020).

In Chapter 1, Haller highlights the framing of disabled characters in television and film. Disabled characters on screen are created by producers, directors and non-disabled actors as narrative prostheses where disabled characters are always associated with the main storylines of tragedy, crime, inspiration and healing (p.27). This chapter argues that the only way to break the false metaphor of ableism is to involve the disability community in all aspects of television and film production. Haller in this chapter demonstrates the success of disabled people who have begun to replace ableist narratives in film and television with authentic stories from the disabled community itself. Films made in collaboration with disabled people have succeeded in making the non-disabled public understand and overcome some of the prejudices resulting from mainstream media representations of disabled people. Not only society in general, disabled people have also influenced how television productions should present disabled characters. As Dom Evans, a director with a disability, pointed out, television productions have finally caught on to what he called ‘disabled mimicry’, a term for when non-disabled actors are so bad at portraying disabled people that they are unable to represent actual disabled characters (p.42).

Chapter 2 discusses the opportunities for disabled people to better shape their own self-representation through TED Talks and reality shows. Those have opened up opportunities for people with disabilities to share information and their lived experiences more authentic to viewers around the world. Haller reiterates that the underrepresentation of disabled people in television and film makes reality shows and TED Talks a great space to share the real perspectives of disabled people. This chapter provides comprehensive evidence of how reality shows and TED Talks that showcase the real lives of disabled people have presented a new, anti-ableist way of understanding disability in the world. In fact, reality shows have shown television executives that audiences are interested in the lives of disabled people, whether they are related to disability or not, as evidenced by the high ratings of disability reality shows such as Little People, Big World and Push Girls broadcast on American television.

In Chapter 3, Haller discusses disability content through podcasts and vlogs that become public pedagogy. For the disability community, podcasts offer the freedom to share their perspectives freely without government censorship. Haller emphasizes the importance of podcasting and vlogging as public education tools that can empower the disability community and also a platform for voices often ignored by mainstream media. The chapter also presents concrete evidence where podcasts and vlogs are slowly changing audience perceptions of disabled people such as the SBSK (Special Book by Special Days) YouTube channel which becomes a multi-media movement that supports the acceptance and inclusion of the neurodiverse/disabled community (p.100). Haller concludes that the views of disabled people mediated in the form of audio–visual content (podcasts, vlogs) in various new media have become great educational platforms for both disabled and non-disabled people in understanding disability.

Haller in chapter 4 talks about how the experiences of disabled people are capable of forming affirmative models to critique the old models represented by mainstream media. In early development, cultural stereotypes, discrimination and pseudo-environmental barriers have shaped the personal tragedy identity of disabled people. This personal tragedy model is then culturally embedded in the mainstream media and the content consumed by society. As a result, the old model actually limits the participation of disabled people in social life. The affirmative model is originally illustrated from the perspective of disabled creators’ experiences of taking over the media narrative through their own creations (YouTube content, web series, streaming). Examples such as Teal Shearer in the Youtube series ‘My Gimpy Life’, Ryan O'Connell in the Netflix series ‘Special’ and Hannah Gadsby in ‘Nanette’ show how the creative control of the affirmative model enables more authentic and empowering representations of disability. Changing public perceptions of disability, these creators not only write and star in their own content creations, but also collaborate with inclusive and content-diverse media that focus on originality and representation (such as streaming platforms).

Chapter 5 explores how comics, graphic novels and music can be used as counter-discourse in breaking down dominant cultural representations of disability. Haller agrees with Leroy Moore, founder of ‘Krip Hop Nation’ that visual-textual art can be a very productive counter-culture symbol through the example of ‘Krip Hop Nation’ itself which was able to engage disabled musicians globally and collectively to show that music can be an empowering and educational medium (p.152). In addition, graphic novels such as Cece Bell's ‘El Deafo’-through its depiction of her experiences as a deaf person-have the power to redefine common concepts of disability (p.148). Haller emphasizes that graphic novelists, musicians and creative artists who are also disabled are able to change the perspective of disability with their own counter-discourse which is based on their lived experiences, to show the world that they are empowered and independent creators with strong ideas. They come together to advocate, educate, and challenge mainstream media that frames disability from the perspective of ableism.

In chapter 6, Haller emphasizes that disabled people and disability communities actually expect to see themselves accurately represented in the mainstream media. Therefore, through this chapter, Haller highlights and appreciates how documentary films can connect people with disabilities to each other through depictions of communities that share their conditions. Documentary films have the ability to showcase the lived experiences of disabled people, reinforce the value of disability communities and represent their reality to become the original product of disability in a more inclusive and empowering way. Thus, film producers need to collaborate with disability communities directly so that the documentary is an original and inclusive work. Documentaries like ‘Crip Camp’ show how films can be used to educate and inspire the public. ‘Crip Camp’, produced by Higher Ground Productions, Barack and Michelle Obama's production company, can provide an in-depth look at the disability rights movement in the United States (Brutlag, 2021).

Through the final chapter of the book, Haller invites the audience to broaden their perspective on disability to recognize that many nonvisible disability (such as mental health) and chronic illnesses (such as HIV-AIDS) are also treated unfairly by the society. Nonvisible disability and chronic illnesses are excluded from the disability representation in mainstream media, which is usually presented in two binary poles, disabled or non-disabled only. For instance, due to this stigma, many people with HIV-positive in the US media and entertainment industry chose to remain silent about their status (p.193). This chapter is powerful in showing the campaign of struggles and challenges faced by nonvisible disability and chronic illnesses through the media content they create to tell their lived experiences. Annie Segarra, known as Annie Elainey on YouTube, has content that covers a variety of topics from mental health to nonvisible disability (p.194). Segarra's content shows how social media can be used to build awareness and a supportive community for people with similar non-visible disabilities. In addition, examples such as the reality show ‘Born for Business’ which discusses the impact of the Covid-19 pandemic on disabled people and nonvisible disability in the United States (p.201), or the Netflix series ‘Crazy Ex-girlfriend’ by Rachel Bloom who confidently talks about her mental issues (p.206), can also help strengthen the value of nonvisible disability and chronic illness communities and give voice to those who are often invisible in mainstream media.

Beth A. Haller's book Disabled People Transforming Media Culture for a More Inclusive World provides huge contributions to scholarship by combining theoretical and empirical research to map disability across media. Many concrete examples are explained to give readers insight into the past, present and future representation of disability in various media. This book is a reference that deserves to be explored by academics, researchers, disability activists and students in various disciplines such as disability studies, media studies and various other sciences to encourage future media inclusion for the disability community and other marginalized groups.