This research study aimed to answer the main central question: “How are d/Deaf characters portrayed on film screens?” Through qualitative methodology, I also used comparative textual analyses of four films with d/Deaf characters in them. It can be concluded that while d/Deaf audiences have largely been forgotten in the past, they are now finally finding their place in films. The results indicate that it is important for filmmakers – screenwriters especially – to do thorough background research before making films with d/Deaf characters.
I took these approaches because d/Deafness itself is a complex and complicated field to cover. I expected to find that there is not one way to write a d/Deaf character. It is important to steer clear of stereotypes and myths when it comes to d/Deaf characters. The following results back up my initial expectations:
The survey results on the representation of d/Deaf characters in films revealed both positive and negative observations. The data showed the importance of authenticity and accuracy in onscreen d/Deaf portrayals. The positive responses showed pride and excitement towards d/Deaf onscreen characters; there was also a strong inclination for using d/Deaf actors in these roles. The negative feedback focused on the misrepresentation of lipreading and unrealistic communication methods shown onscreen. Respondents also expressed frustration when it comes to the superficial or stereotyped representations in onscreen narratives. They also believe those narratives undermine the value of accurate portrayals of d/Deaf accents, relationships with hearing characters, and the complexities of the d/Deaf experience.
Audism is still prevalent in films, and it needs to change. The belief that hearing persons are superior to those with disabilities – d/Deafness included – is not acceptable and filmmakers need to educate and equip themselves when it comes to creating onscreen characters with d/Deafness. It is also obvious that d/Deaf persons are not seen as equals by the characters who are hearing. Hearing actors are also chosen for d/Deaf roles far more than d/Deaf actors themselves. Where lipreading is concerned, it is seen as a superpower and is used to support the plot-line, instead of the survival skill it is. d/Deaf characters are also excluded from the hearing community but included in the d/Deaf community; at the end of the films, however, d/Deaf characters are eventually accepted into the hearing worlds as well. Deaf accents do not feature in the films, and that’s because hearing actors were used instead. Communication is a constant battle for d/Deaf characters, which is a realistic portrayal of how d/Deaf persons struggle to function in a busy, fast-paced, hearing-focused world. Sign language and other methods used have been shown in an accurate way, which shows that research was done. Sound is used as an effective way to draw the audience into experiencing the world of the d/Deaf character, and can be used more often. Accessibility to films in the theaters remains an ongoing battle for d/Deaf audiences.
Based on these conclusions, filmmakers should consider using the ten-point analysis that I have made through watching those four films. It is important to look at the following when researching d/Deaf characters: audism between hearing and d/Deaf characters; equality versus inequality between hearing and d/Deaf characters; hiring hearing versus d/Deaf actors; using lipreading as a plot point and/or survival skill; sensitivity towards connection and community portrayals; accurate d/Deaf accents due to background training; correct sign language according to country and/or province; considering other methods of hearing devices such as hearing aids and/or cochlear implants; sound and audible experiences from the point of view of the d/Deaf character; also, making films accessible towards d/Deaf audiences by adding subtitles. Finally, it is important to keep in mind to engage with the d/Deaf persons, d/Deaf actors, the Deaf community, consultants, interpreters, etc., to do the proper research required to improve representation, empowerment, and create inclusive, multifaceted d/Deaf characters for the screen.