I need to write a shitty-first draft about overcoming and compensation myth based the The Butterfly Circus [Short Film HD] By Nick Vujicic, here is the link of the film. https://www.youtube.com/watch?

Samuel Nerayo

Disability Myth Proposal

1. The disability myth I have chosen to focus on is the overcoming/compensation myth. I am examining this myth because more insights about it will help identify the positive and negative effects this myth has on disabled people and shed light on what needs to be done to improve people's quality of life in this category. The overcoming/compensation myth refers to the expectations society holds on people with disabilities. Several books and films use disabled people as sources of inspiration through various scenes portraying the disabled people 'overcome' their disability. In such situations, the authors/producers try to say that disabled individuals act more like healthy people without disabilities. While it serves as a source of inspiration, compensation/overcoming is insulting in two ways. First, some people may have low expectations of the disabled individual. Two, others may hold high expectations whereby the disabled individual will compensate in a particular manner, not through magic but hard work for him or her to be accepted. An example of that would be praising a person living with tetra-amelia syndrome for walking in 'an almost normal way.' Such a person will never have limps; hence, it is a no-win situation because other people focus on walking when it should be on helping the individual lead a quality life. It all revolves around having supercrip expectations of disabled people, which is unfair. People in this population need not go beyond and above everything in their daily lives to secure jobs, get accepted, etc. This myth compels disabled people to find ways of adapting or make ends meet because they do not have any choice.

In this paper, I will examine how The Butterfly Circus (2009) perpetuates or challenges this myth in portraying a disabled character named Will (Nick Vujicic), born without limbs. The film is set back in the 1930s during the American depression era. Mr. Mendez, who is working to make ends meet by managing a small circus known as the Butterfly Circus, visits a carnival with a sideshow one day. Here Mr. Mendez and his troupe meet Will, who is the center of the attraction and is being pelted by the audience. Perturbed by the pelting and the abuse, Mendez kidnaps Will, and Will joins Mendez's circus. To survive within Mendez's circus, Will learns how to perform, earning his fellow troupe members' respect.

2. This paper's chief goal is to show how using the myth promotes both positive and harmful stereotypes about people with disabilities. First, I will investigate how the freak shows in the 1930s gave disabled people the freedom to work and form a community of sorts, yet they were also gawked at and vilified by the society that came to watch their performances. Second, I will discuss one particular scene where Will overcomes his fear of drowning. While this particular scene shows empowerment, it is also used as a source of inspiration for the viewing audience. This idea is not being used to motivate people with disabilities but rather to encourage non-disabled people to go and do something or to feel more at ease at the idea of becoming disabled. Next, I will look at the film's cinematic techniques, such as the extreme close up shot and the close-up shot, to show how the overcoming/compensation trope is being challenged or perpetuated. I will explain how these tropes hurt the disabled community by displaying their disabilities and emotions at a close range, making them appear more scary and different from other individuals.

Thesis Statement

The overcoming/compensation myth no doubt has various benefits. However, the benefit is only for non-disabled people because however hardworking, intelligent, or extraordinary disabled people are portrayed, they will never enjoy free-functional life. Besides, they only perform or do extraordinary actions to prove to the public that they can also do what other people do, and this only flaunts them but does not take their disability away. Based on the above, this research's thesis statement is: Despite its benefits, the film industry insults the disabled community by applying the overcoming/compensation myth.

Source 1

Chrisman, Wendy, L. “A reflection on inspiration: A recuperative call for emotion in disability studies.” Journal of Literary & Cultural Disability Studies 5.2 (2011): 173-184.

Authored by Chrisman (2011), this article discusses the need for reconsidering the term inspiration to help recuperate it as a worthy emotion within disability contexts. The article is reliable for my research because it is current, has all the author's details, and is published in a recognized journal. According to the author, narratives of inspiration usually carry the attendant baggage of fear and pity, indicating that disability should and can automatically evoke concern or sympathy from audiences- a concern that the disabled people might be a social or economic concern for their conditions. Other inspirational narratives present the 'supercrip’ idea whereby disabled people defy odds to overcome the burdens of disability. This article will help me to incorporate the myth in my analysis. This article will help me include the myth in my research by paraphrasing some sections because it aligns with my argument that the inspiration narrative can be beneficial and damaging.

Source 2

Clare, Eli, et al. “Freaks and Queers. Exile and Pride: Disability, Queerness, and Liberation. Duke University Press, 2015.pp. 67-101.

This chapter is written by a well-known disability studies scholar, Elizabeth Clare. He examines how circus performers in the early 20th century were “rather extraordinary creatures” and were thought not to be entirely human. Yet, the freak shows relied upon voyeurism. The performers did not overcome their disabilities; they flaunted them (82-83). Examples of Clare’s argument can be seen in The Butterfly Circus scenes, such as when Will decided to perform a difficult act in the circus performance. This character is raised to the top of a tall pole around 50 ft. in height and dives into a water-filled tank strategically placed on the floor. He is forced to do such an act by Mr. Mendez, who informs him that he needs to learn and perfect something else for him to join his circus team instead of just a freak. Will accidentally discovers that he can swim and decides to perform this act in the Butterfly Circus. His successful performance makes him happy not because of his disability but because he has proved to the people that he can do extraordinary things. This source is credible because it is authored by a well-recognized expert in disability matters, making his contribution relevant. I will use it in my research by quoting and paraphrasing particular sections that directly support my thesis.

Source 3

The Butterfly Circus: Is “Inspirational” Positive or Negative? (Jessica Lindenberg). 15 Feb.2017, culturesofdisability.wordpress.com/2017/02/15/the-butterfly-circus-is-inspirational-positive-or-negative-Jessica-Lindenberg/.

Authored by Jessica Lindberg, this article revolves around the Butterfly Circus, a 2009 film featuring Will as the main character. The article gives a synopsis of the film covering how Will ended up as one of the Butterfly troupes. The author notes that many of the troupe individuals struggled in their lives before joining the circus. The film emphasizes the significance of triumph and perseverance and aims to inspire Will and other people that no one is limited; everybody can overcome hardships and achieve success. This source is credible because it highlights the achievements of a disabled person (Will), who is accepted by his colleagues for who he is. It also has all publication details, including the author's details and publication year, making the information it presents reliable. I will use it to support my research by paraphrasing some sections.

Works Cited

Chrisman, Wendy, L. “A reflection on inspiration: A recuperative call for emotion in disability studies.” Journal of Literary & Cultural Disability Studies 5.2 (2011): 173-184.

Clare, Eli, et al. “Freaks and Queers. Exile and Pride: Disability, Queerness, and Liberation. Duke University Press, 2015.pp. 67-101.