Cripping Gender, Gendering Crips: Intersectional Representations of Gendered Disability in South Korean Cinema

• In Event: Disability and Media

Abstract

This study examines the intersectional inequalities of disability and gender, particularly how these power dynamics are masked by the illusion of visibility in South Korean cinema. While the representation of disabled characters has increased, this visibility often stands in stark contrast to the systemic discrimination faced by disabled communities in reality. Thus, it is crucial to assess whether these portrayals are fair and unbiased, especially through the lenses of ableism and gender discrimination. This research addresses a critical gap by asking: Are there differences in the representation of disabled characters based on gender? If so, how are cultural narratives of gender and disability co-constructed in cinema to sustain ableist and patriarchal hierarchies? By answering the questions, this study analyzes disparities in representation and framing, revealing how normative bodily perspectives construct preferred disabled traits in a gendered manner, ultimately reinforcing societal norms that cater to the expectations of able-bodied audiences. The theoretical framework draws on Crip Theory and narrative prosthesis, synthesized through the lens of feminist disability studies and intersectionality. Methodologically, the research employs critical discourse analysis and narrative analysis to examine a representative corpus of 20 Korean films. The findings reveal that, in terms of exposure and centrality, disabled protagonists are predominantly male, while female disabled characters are typically relegated to peripheral roles. Representational analysis shows that disability is gendered through a bifurcated logic of heroic masculinity and fragile femininity. Male characters often recuperate masculinity through talent, resilience, and mobility, whereas female characters are portrayed as dependent, vulnerable, and aesthetically preserved. Moreover, gender norms shape which disabilities are deemed curable or redeemable, reinforcing an intersectional hierarchy in which ableism and patriarchal expectations mutually structure cinematic meaning. The findings serve as critical evidence for uncovering the power dynamics that continue to stratify South Korean cinema and, ultimately, the social reality.

Author

• Jiyoung Bae, Yale University