{"id":771,"date":"2016-02-27T20:10:23","date_gmt":"2016-02-28T02:10:23","guid":{"rendered":"https:\/\/bsudlr.wordpress.com\/?p=771"},"modified":"2016-02-27T20:10:23","modified_gmt":"2016-02-28T02:10:23","slug":"and-the-award-goes-to-an-examination-of-award-show-culture-and-its-role-in-re-freakification","status":"publish","type":"post","link":"https:\/\/blogs.bsu.edu\/dlr\/2016\/02\/27\/and-the-award-goes-to-an-examination-of-award-show-culture-and-its-role-in-re-freakification\/","title":{"rendered":"\u201cAnd the Award Goes To\u2026\u201d: An Examination of Award Show Culture and its Role in Re-freakification"},"content":{"rendered":"

By Amory Orchard<\/p>\n

\"Academy_Award_trophy\"<\/p>\n

As many avid television and film viewers know, awards season is upon us once again. Soon it will be virtually impossible to escape the hundreds of red carpet pictures cropping up on our social media feeds, web pages, and TV screens, as designated entertainment experts discuss red carpet fashion. Despite the fashion talk, one question is on everyone\u2019s mind: which actors and actresses will go home with the most esteemed prizes: The Golden Globes, The Screen Actors Guild Awards\u2014and, of course, the coveted Oscars?<\/span><\/p>\n

For all the glitz and glamour of the season, celebrity and award show culture has rather serious implications when able-bodied actors portray characters with disabilities and other physical features that stray from the perceived norms. In fact, it has become something of a joke in the business to refer to such roles as \u201c<\/span>Oscar bait<\/span><\/a>\u201d because many of the past Best Actor Oscar winners\u2014Daniel Day Lewis for <\/span>My Left Foot<\/span><\/i> and Colin Firth for <\/span>The King\u2019s Speech<\/span><\/i> among them\u2014have depicted disabled people. Some <\/span>culture critics<\/span><\/a> even assert that actors take on these roles because they attract awards.<\/span><\/p>\n

\u201cWhy is this a problem?\u201d one might ask. Is this not what actors do, stepping into a character\u2019s shoes to shed light on their struggles? Perhaps. But we should not ignore the social implications of their performances. As disability scholar Graeme Turner claims, \u201cThere can be no question that celebrity has demonstrated its usefulness as a productive location for the analysis of cultural shifts around gender, race or nationality, for instance. It is important that such work continues\u201d (13). Although able-bodied actors may have the best intentions when taking on such a role, there have been debates for years about the moral ambiguity that comes with able-bodied actors transforming themselves to \u201clook the part,\u201d rather than studios casting disabled actors. However, this blog post will discuss the role of the media attention their performances attract in keeping this a status-quo in the entertainment industry. As a result, the media reinforces the audience\u2019s fascination with the fact that an able-bodied actor can pass as a member of a disenfranchised population. The actor\u2019s transformation\u2014not the story the performance is supposed to convey\u2014becomes the public\u2019s focus.<\/span><\/p>\n

While campaigning for Hollywood\u2019s top prizes, actors and actresses participate in photo shoots and interviews designed to advertise the film. What happens, however, is that these articles often discuss how an attractive actor \u201ctransformed\u201d him or herself in order to play a disenfranchised person. Then, in the reader\u2019s mind, the actor transforms back into their previous conventionally attractive self by the end of the article. This reduces disability to a matter of make-up\u2014something one can take on and off. Although an audience may not realize the deeper implications, this act dismisses the experience disabled people face in their daily lives. This has been the case with several actors within the past year, including 2015 Academy Tony Award-nominated Bradley Cooper for his role as John \u201cThe Elephant Man\u201d Merrick.<\/span><\/p>\n

According to drama scholar Stanton B. Garner Jr.\u2019s research on modern stage productions of <\/span>The Elephant Man<\/span><\/i>, audiences are captivated by the \u201cphysical process of moving in and out of character\u201d (Garner 84). Indeed, this was shown in Bradley Cooper\u2019s <\/span>60 Minutes<\/span><\/i> interview<\/span><\/a>, which appeared shortly before the production was opened to the Broadway public. The interview features footage capturing Cooper\u2019s transformation into the disfigured Merrick before an onstage audience of medical professionals while his caregiver \u00a0describes Merrick\u2019s medical condition in dehumanizing terms. Cooper slowly begins to hunch over, his mouth stretches, and his voice changes to mimic Merrick\u2019s. Soon after the interview aired, countless news and tabloid publications recapped the 60 Minutes interview. In each case, there is a variation on this line: \u201c[Cooper, who], ironically, was once crowned the \u201cSexiest Man Alive\u201d by People Magazine, has now been dubbed the \u2018best Elephant man yet\u2019\u201d (Hall). Here, the public\u2019s fascination with watching an attractive, able-bodied man transforming into a severely disabled (and dying) person has been encouraged \u00a0by the media. In juxtaposing sex symbol Bradley Cooper with the character into which he transforms, the story of the production becomes less about Merrick and more about the actor who portrays him. The appearance, not the experience, becomes what counts.<\/span><\/p>\n

Academy Award-winner Eddie Redmayne was treated similarly last year while promoting <\/span>The Theory of Everything<\/span><\/i>, in which he played theoretical physicist Stephen Hawking. As in the coverage of Bradley Cooper\u2019s performance, the media discourse contrasts the actor\u2019s physical attractiveness with his character\u2019s appearance. For instance, in Redmayne\u2019s <\/span>Vogue<\/span><\/i> interview<\/span><\/a>, staff writer Vicki Woods <\/span>goes to great lengths in describing Redmayne\u2019s personal appearance<\/span> before talking about his \u201ctransformative role\u201d as Stephen Hawking:<\/span><\/p>\n

Very few men are heart-stoppingly beautiful, in the way glorious women or racehorses or specimen roses unarguably are, so meeting a bona fide male dazzler, with fan sites sprawled across the Web, is interesting. The huge buzz about his new film, The Theory of Everything, in which he plays the British theoretical physicist Stephen Hawking, who suffers from the debilitating neurological disease ALS, is also interesting. (Woods)<\/span><\/p><\/blockquote>\n

Here, Woods describes Redmayne\u2019s appearance\u00a0<\/span>with words such as \u201cheart-stoppingly beautiful,\u201d \u201cglamorous,\u201d and \u201cdazzler,\u201d before contrasting his transformation into Hawking who \u201csuffers\u201d from a \u201cdebilitating\u201d disease. Woods not only accentuates the transformation, but, in so doing, denigrates Stephen Hawking\u2019s appearance because he is not a young, muscular symbol of youth.In the end, the only mention of Hawking is a brief explanation of the overall premise. The focus is all on Redmayne. <\/span><\/p>\n

It is true that some award-winners have been disabled themselves. For instance, <\/span>both<\/span> Harold Russell (who lost both his hands in World War II) and Marlee Matlin (who is deaf) won awards for the films <\/span>The Best Years of Our Lives<\/span><\/i> and <\/span>Children of a Lesser God<\/span><\/i>, respectively. However, they are two rare exceptions. As Award Show Season 2016 kicks off, countless speeches will be made by winners, often thanking the real people they portray. Redmayne himself made such a<\/span> speech<\/span><\/a> last year, dedicating his Oscar to those diagnosed with ALS, vowing he will act as a \u201ccustodian\u201d of the prestigious award. However, it is imperative for average audience members watching these award shows to consider the persuasive media \u201cbuzz\u201d that led to this actor being nominated in the first place and the way they discuss those people whose likenesses the actors are representing. After all, part of the fascination with his performance lies with us, the media consumers: the underlying fact that he can convincingly transform into someone else\u2014but can always transform back.<\/span><\/p>\n

 <\/p>\n

Works Cited<\/span><\/p>\n

Garner Jr., Stanton B. “In Search of Merrick: Kinesthetic Empathy, Able-Bodiedness, and Disability Representation.” <\/span>Journal of Dramatic Theory and Criticism<\/span><\/i> 29.2 (2010): 81-103. Print.<\/span><\/p>\n

Turner, Graeme. “Approaching Celebrity Studies.”<\/span> Celebrity Studies<\/span><\/i> 1.1 (2010): 11-20.<\/span> Routlage:<\/span> Taylor & Francis. Web. 16 Nov. 2015. <http:\/\/www.tandfonline.com\/doi\/pdf\/10.1080\/19392390903519024>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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