ഭിന്നശേഷിക്കാരുടെ പ്രതിനിധാനം മലയാളസിനിമയിൽ: അന്ധതപ്രേമയമാക്കുന്ന തിരഞ്ഞെടുത്ത സിനിമകളെ മുൻനിർത്തിയുള്ള പഠനം

Abstract

This study critically examines the representation of people with disabilities, specifically blindness in selected films. It explores how the identity of the disabled community is constructed and how they are portrayed within the socio-cultural fabric of cinema. The research reveals that dominant narratives often marginalize disabled individuals, reflecting ableist structures and perspectives. Rather than personal limitations, societal constructs are shown to be the primary barriers faced by persons with disabilities. The general analysis of disability representation covers Malayalam films from 1979 to 2021. A separate study focuses specifically on representations of blindness in Malayalam cinema from 1955 to 2021. In the detailed case study, the films ‘Artist’ (Shyamaprasad - 2013) and ‘Happy Journey’ (Boban Samuel - 2014) are analyzed. For comparative purposes, the international films ‘The Color of Paradise’ (Majid Majidi - 1999) and Blindness (Fernando Meirelles - 2008) are also examined. Additionally, insights from seventeen visually impaired individuals regarding their cinematic experiences have been incorporated into the study. The study also highlights how certain films consciously critique inaccessible environments and exclusionary attitudes, contributing to a shift in social perspectives. Such cinematic interventions are vital for envisioning an inclusive democratic society where blindness is normalized rather than sensationalized. However, mainstream Malayalam cinema largely continues to depict disability as an individual physical or mental flaw, reinforcing traditional stereotypes. As a result, disabled characters often remain peripheral, emphasizing the need for more authentic and empowering representations. People with visual impairments experience cinema differently, but this does not exclude them from engaging with the medium. On the contrary, their unique perspectives can significantly enrich and diversify the cinematic experiences. Encouraging film criticism and observations from visually impaired individuals and incorporating these viewpoints can contribute to a more inclusive and reflective film culture. It is important to recognize that cinematic representations of blindness often fail to reflect the lived realities of the blind. There is potential to create films that are accessible to both blind and sighted audiences, as well as to offer more opportunities for visually impaired within the film industry. This can lead to more realistic portrayals of blindness and help reduce the marginalization of blind individuals within cinematic discourse.