Search Results for: Animation Nation
Marvel’s rehabilitation of Spider-Man took off like a rocket with the reintroduction of young Peter Parker into the MCU, followed by the astoundingly good Spider-Man: Homecoming. Now, the next phase of the rehabilitation is shooting into the stratosphere with the Sony Pictures Animation film Spider-Man: Into the Spider-Verse.
I love animation, and frankly, I haven’t seen animation look this good in a long time. It’s an odd combination of 3D and traditional that makes Miles Morales (voiced by Shameik Moore) jump off the screen. The style really does make the character and the city of New York larger than life. Every scene is practically electric.
There’s also just the fact that we’re finally seeing more treatment given to Morales, who is the comic book canon Spider-Man nowadays. There’s been a bit of a turf war between fans over who should be the canonical film Spider-Man. Fans of Miles have also been concerned that Marvel’s only concerned about diversity in the back of the house, as it were, instead of the front–while Marvel consistently boasts about it’s diversity within its pages, it’s been hard to get that same type of diversity on screen. Spider-Man: Into the Spider-Verse finally gives Marvel a way to showcase all facets of their canon and give all fans the Spider-Man they want to see, whether that’s Peter or Miles. The next step: getting Miles into the live-action movies.
Okay, now to the moodboards (and what beautiful moodboards they are).
Spider-Man: Into the Spider-Verse is coming to theaters Christmas 2018.
When I saw The Book of Life in theaters a couple of years ago, I had hoped it would get enough traction and fanbase to garner a sequel. The characters and animation were charming, as was the story, so I’m glad to know that we’re getting a new Book of Life film!
The news came during this year’s Annecy International Animation Film Festival. According to Remezcla via Variety, The Book of Life creator and director Jorge Gutiérrez will return to helm the sequel. I presume the same voice actors, including Diego Luna, Zoe Saldana, Channing Tatum, Kate del Castillo, and Ron Perlman, will be back as well (no confirmation yet).
Gutiérrez had teased a sequel last year, and has since retweeted that old tweet, which features a very different, angrier-looking Xibalba and a different, Aztec-inspired goddess. Also, Manolo, Maria and Joaquín are all dead, fighting against something or someone. In short, it seems like a much darker–yet just as fun–chapter in the Book of Life saga. Will the sequel follow the narrative the early concept art shows us? I hope so–I really want to know what the story is that inspired this art, especially that goddess.
Who wants to see this movie? Asking for a friend. pic.twitter.com/Fb0R6bkWBh
— Jorge R. Gutierrez (@mexopolis) November 30, 2016
But I hope that La Muerte is still a part of the mix; her character design is still one of the most inspired designs I’ve seen in a while, especially now that we’re in the age of homogenous Pixar or Pixar-influenced art. Let’s be real–mainstream 3D films are all starting to look exactly the same. The Book of Life jazzed things up a whole lot, not just where diversity and representation are concerned (because 3D animated films are still white-centric). The playfulness and imaginative quality that The Book of Life art has is something that has been lacking in 3D animated films, and it’s definitely something Pixar has increasingly lost since it lost its arthouse sensibilities after becoming a full-blown part of Disney.
I digress, but I’ll also use this as a segue to discuss The Book of Life‘s “competition,” as it were–Pixar’s Coco. I’ve already written about how some aren’t feeling Coco and it’s similar The Book of Life look. But Gutiérrez doesn’t view them as competition and, in fact, welcomes more films that are taking on this topic. And, in Pixar’s defense, it looks like Pixar isn’t taking the typically Disney easy way out when it comes to telling this story, i.e. creating a sanitized, whitewashed version of Mexican culture. Aside from screenwriter and Pixar animator Adrian Molina co-directing the film with Lee Unkrich, Pixar has hired some of its biggest critics as a think-tank to keep the film culturally sound. (However, the think-tank idea only seems to be after Disney’s 2013 trademark debacle when they tried to secure the phrase “Día de los Muertos,” which resulted in a PR nightmare. An artist who came out against them, Lalo Alcaraz, was asked by Pixar to be a part of the think-tank, and I hope they heed what he and the rest of the experts have to say. You can read more about this at Vanity Fair.)
To get back on topic, I’m really excited to see what The Book of Life has in store for us the second go-round. What do you think about this news? Give your opinions below!
SAN FRANCISCO, Oct 28, 2016 /PRNewswire/ — AIFI stands in solidarity with the Standing Rock Sioux Tribe of North Dakota and their thousands of native and non-native allies in the struggle to protect their waters and homelands against bio oil and the development of the Dakota Access Pipeline. This is the most recent of the ongoing struggles of indigenous peoples of this continent to protect and preserve their homelands and ways of life against colonial and capitalist interests. AIFI has presented these stories and many others of cultural affirmation, resistance and survival over the years and they will continue to be featured through the 41st Annual American Indian Film Festival, to be presented November 4-11 in San Francisco.
The public is invited to enjoy film screenings, appearances by filmmakers, actors and directors, Q&A sessions, and memorable entertainment during the 8-day event– capped by the American Indian Motion Picture Awards Show on November 11.
“The contemporary medium of cinema as a tool for a very ancient art – storytelling – has always been at the core of the American Indian Film Institute, and our festival,” notes AIFI founder and president, Michael Smith (Sioux). “As we move into our fifth decade, we’re more committed than ever to spotlight and share these vital stories – films, by, for and about American Indian and First Nations peoples – with all communities. This is the best of Native cinema, and we’re excited to celebrate the 41st annual American Indian Film Festival with our filmmakers, entertainers and audiences.”
The AMC Van Ness 14 theaters (1000 Van Ness Ave.), is the venue for the festival’s line-up of live short, animation, documentary and feature films, plus public service and music videos, and youth films from AIFI’s Tribal Touring Program.
The full schedule of 13 film programs, with both matinee and evening screenings, is available online at: http://www.aifisf.com/film-schedule
Notable films of AIFF 41 include:
November 4: The Saver, an 88-minute feature film starring Imajyn Cardinal directed by Wiebke von Carolsfeld
November 5: The Missing and Murdered Indigenous Women epidemic of North America is spotlighted in recording artist Crystal Shawanda’s Pray Sister Pray,” a music video directed by Joseph Osawabine; followed by the short: Sister, Daughter, directed by Nathaniel Arcand (Into The West; Blackstone) and the feature On the Farm starring Elle-Maija Tailfeathers
November 7: Fractured Land, a documentary feature directed by Fiona Rayher and Damien Gillis
November 8: Lisa D. Olken and Larry Pourier’s documentary feature, Red Power Energy, along with The Northlander, a 98-minute feature film directed by Benjamin R. Hayden, and starring Roseanne Supernault, Michelle Thrush, Julian Black-Antelope, Corey Sevierand Nathaniel Arcand.
November 9: A 97-minute feature Before the Streets/Avant Les Rues, starring Rykko Bellemare, Kwena Bellemare-Boivin, Jacques Newashish, Janis Ottawa, Martin Dubreuil and Normand Daoust
November 10: AIFF41’s Closing Film Program wraps with producer-recording artist Robby Romero’s music video, “Earth Revolution” featuring UN youth ambassador Ta’Kaiya Blaney; Kyle Bell’s behind-the-scenes look at the epic art of Steven Paul Judd; followed by the feature film Te Ata, starring Q’Orianka Kilcher (The New World), acclaimed Oneida actor Graham Greene (The Green Mile, Dances With Wolves, Die Hard With A Vengeance), and Comanche actor Gil Birmingham (Twilight, The Twilight Saga: Breaking Dawn Part 1, Rango;and the recent Hell or High Water), alongside Academy Award-winner, Jeff Bridges.
AIFI’s American Indian Motion Picture Awards Show starts at 7 pm (doors open at 6 pm) on November 11, at the Fillmore Heritage Center (formerly Yoshi’s), 1310 Fillmore Street, San Francisco. The show will be co-hosted by Metis-Cree actress Roseanne Supernault(Rhymes For Young Ghouls; Maina; Blackstone), and Tlingit, Koyukon-Athabascan actor Martin Sensmeier (The Magnificent Seven, Longmire), and features live entertainment from Twice As Good (a father and son duo from the Pomo Tribe); Hard Rock Records recording artist Spencer Battiest (Seminole Nation of Florida) along with his brother Zachary aka Doc; Ta’Kaiya Blaney, accompanied by Robbie Romero; and the Navajo comedy duo James & Ernie. The American Indian Motion Picture Awards Show includes presentations for Best Film, Best Music Video, Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress, Best Documentary, and many more.
Kiowa-Choctaw creative force, Steven Paul Judd returns as AIFF 41’s Official Festival Artist. Judd’s poster, “Endeavour to Persevere,” is an homage to film dialogue spoken by the late, legendary First Nations actor and leader, Chief Dan George, in the iconic Western, The Outlaw Josey Wales. The unforgettable Chief Dan George was the inspiration for the creation of the American Indian Film Festival®.Catch a glimpse of Judd’s amazing, art-filled life, in the documentary short film, Dig It If You Can, directed by Kyle Bell.
The 41st annual American Indian Film Festival® is sponsored by: Comcast NBCUniversal, Jackson Rancheria CA, Muckleshoot Indian Tribe WA, Comcast Streampix; Media Partners: Chickasaw Nation Oklahoma, National Indian Gaming Association, CBS NY, Tulalip Tribes WA; Venue Sponsor: AMC Van Ness 14; Foundation Partners: The San Francisco Foundation, The William and Flora Hewlett Foundation, George Lucas Family Foundation; and the San Francisco Grants for the Arts.
The American Indian Film Festival® is open to the general public-at-large; and invites all- communities to celebrate November American Indian Heritage Month.
Advance tickets for the film festival and awards show are available thru aifisf.com.
Gay characters, gay women characters in particular, have had a tough time on television in recent months. From The 100 to The Walking Dead enacting the “Bury Your Gays” trope, the narrative that gay characters are only good and worthy if they are dead (for “dramatic effect”) has been run into the ground. But there are three examples of a possible shift in narratives about gay characters.
Vanity Fair recently interviewed real life couple Cameron Esposito and Rhea Butcher, the creators behind the comedy series Take My Wife. The show, which is about a couple who run a small business, shows Esposito and Butcher’s characters existing outside the media’s obsession with dead gay characters. Even Butcher herself lamented about the state of television when it comes to showcasing gay characters only as being useful for drama. “Lesbians don’t really get to be on TV and not die,” she said. She also told Vanity Fair that she and Esposito wanted the show to represent something real and tangible. “I wanted to represent something that actually looked real to peole and feels like a real household, career, experience, show, audience. I just wanted everything to feel real, and I enjoy that challenge.”
A particularly quiet watershed moment for gay characters happened in the realm of animation, and I’m actually not talking about Steven Universe, which frequently details the lives of gay characters. This moment came from Nickelodeon’s newest cartoon, The Loud House, in which main character Lincoln Loud’s best friend Clyde McBride comes from an interracial same-sex household. Wayne Brady and Michael McDonald (not the singer) provide the voices for Clyde’s parents, Harold and Howard McBride.
Also, in superhero news, CW Seed is bringing the first out gay superhero to the screen. According to Deadline, The Ray (aka reporter Raymond “Ray” Terrill) will star in an upcoming animated series called Freedom Fighters: The Ray, much like how Vixen debuted. Also like Vixen, The Ray is expected to transition into live-action, making him the second gay superhero portrayed on screen (the first being Deadpool, as evidenced by Ryan Reynolds’ insistence that everything about Deadpool would stay true to the character, including his bisexuality). The voice actor who will portray The Ray (an actor who has yet to be cast) is also expected to portray him in live-action form.
While all of this is good news, there is unfortunately still the lingering doubt that audiences and/or studios won’t accept gay leads in their stories. Such is the case with Ghostbusters director Paul Feig oddly deflecting the question of if Kate McKinnon’s character Holtzmann is a lesbian. When asked by The Daily Beast about if Holtzman was a lesbian, Feig coyly said, “What do you think?” He then added, “I’d like to think yes, I say. …I hate to be coy about it. But when you’re dealing with the studios and that kind of thing…” He punctuated his statement with, as The Daily Beast describes it, an apologetic shrug.
What’s even stranger is that even though he didn’t answer the question about Holtzmann, McKinnon herself is gay; while that doesn’t mean Holtzmann is gay necessarily, McKinnon’s participation in the film and how she played her role (which, from where I’m sitting, was quite overtly flirty with Kristen Wiig’s Erin Gilbert) would certainly seem to play against the idea that the studio or audience can’t handle a gay lead, whether it’s the actress or the character. In short, it shouldn’t matter in any scenario that Holtzmann is gay. Judging from a quick search of Ghostbusters fanfiction, much of which is about Erin and Hotlzmann, a large contingent of the audience is perfectly fine with a gay leading character.
Feig’s hesitance to confirm Holtzmann’s sexuality for fear of studio backlash (national, international, or otherwise) falls in line with the general studio practice of casually baiting audiences, either intentionally or unintentionally, with inclusion, only to later reverse or slyly not deny-not confirm key facts. This kind of baiting is annoying to say the least, particularly since LGBT characters are few and far between to begin with. The lack of representation forces fans to create their own narratives and theories, but lately, fans have been demanding that studios become more insistent on creating LGBT characters within their mainstream, blockbuster franchises such as Star Wars and the Marvel franchise.
However, things are progressing in Hollywood, if at a snail’s pace. One way to increase the pace, though, is for Hollywood to become more inclusive of others both in the realm of talent and behind the scenes. Currently, disruptive television like online viewing (such as the case with Take My Wife, which is a streaming show on Seeso) allows audience members who aren’t usually represented in the mainstream to find characters that reflect them and their experiences. Also, it allows for creators who might not have a seat at the proverbial table to be in charge of the content they create and how it speaks to their audience. The old way of doing things in Hollywood is quickly becoming obsolete as more and more people become makers of their own destiny with other outlets. Eventually, the old guard will have to catch up and start employing the creators and talent that have captured large chunks of their market. For instance, Laverne Cox got her start in disruptive TV with Netflix’s Orange is the New Black. Now, this fall you can see her on CBS’ Doubt starring opposite Dulé Hill. The disruptor becomes part of the new Hollywood order.
What do you think about the state of LGBT characters on television? What solutions would you give to Hollywood? Give your opinions in the comments section below!
Post provided by Alice Wong of the Disability Visibility Project
On June 25th, I saw Finding Dory after reading many positive reviews and recommendations from my disabled friends. I wasn’t disappointed. There was so much to unpack and process when I got home that I decided to write this review/essay.
Finding Dory is film depicts more than disability, it depicts disability culture.*
Warning: Spoilers to Finding Dory, Finding Nemo and Toy Story 3
People with disabilities do not see themselves very often reflected in popular culture with authenticity steeped in the lived experience. Not only are many disabled characters played bynon-disabled people; the storytellers are usually non-disabled who craft narratives about disability by using stereotypes and cliched tropes, robbing disabled characters and stories of agency and diversity.
Finding Dory has multiple characters with disabilities that live in the community (the ocean) and in institutions (the aquarium, the quarantine section of the aquarium). The characters are part of ecosystems (the coral reef) integrated with non-disabled aquatic creatures. Best yet, Dory, voiced by Ellen Degeneres, is a disabled character that is front-and-center. She is the hero on a journey.
She saves the day not in spite of but because of her disability.
When was the last time a live-action Hollywood film had this type of disability diversity and this many disabled characters interacting with each other?!?
3 ways Finding Dory kept it real about the disability experience
#1: Parental anxiety and support
We see Dory as a young Pacific Regal Blue tang with her parents, Jenny and Charlie, voiced by Diane Keaton and Eugene Levy.
Jenny and Charlie are patient parents who help Dory to be upfront about her disability, encouraging her to practice, “Hi, my name is Dory and I suffer from short-term memory loss.” Not a fan of the term “suffer” but anyhoo…Seeing the group of little tangs swimming nearby, I think Jenny and Charlie were preparing Dory as she planned to venture out to socialize with her peer group. We also see Jenny and Charlie help Dory with her memory by using songs and accommodations such as seashells that enable her to find her way home.
Jenny and Charlie are like many parents of kids with disabilities:
- They worry about her future
- They teach her life skills that she will need
- They are protective about Dory and her safety (“Watch for the undertow!”)
- They show joy and love of Dory being Dory
I got very verklempt near the end of the film when Dory was reunited with her parents. Jenny and Charlie re-constructed their environment with rows of shells radiating from their home in the hopes that Dory will find her way back. When I saw the wide shot of their home and the long rows of seashells like streaming sun beams, I thought about Jenny and Charlie’s dedication and labor. They had every confidence that Dory would find them–they did their best at preparing Dory for the outside world and believed in her abilities. I teared up thinking about my parents and the sacrifices they made for me, such as purchasing a van with a lift (no small feat for a middle class family) and various modifications to our home when I started using an electric wheelchair.
#2: Social Exclusion and Ableism
Pixar kept it real, yo! There are the warm fuzzies and SO many feels that are de rigueur for every. Single. Pixar. Film. The filmmakers balanced the feels with moments of cruelty in Finding Dory in the form of Fluke and Rudder, the two sea lions that Marlin and Nemo encounter during their search for Dory.
Fluke and Rudder (voiced by former cast members from The Wire Iris Elba and Dominic West) are oafish bros who occupy a prime piece of rock real estate near the aquarium. Fluke and Rudder love to sleep and guffaw in a Cockney accent. They help Marlin and Nemo get into the aquarium by calling Becky the loon to transport them via pail of water.
Fluke and Rudder get the pail by luring in Gerald, a non-verbal sea lion who is clearly a sea lion that’s on the fringes of his social group. Gerald looks a bit goofy with his bushy eyebrows and wide-eyed expression and it reinforces his lower status within a larger hierarchy where verbal and physical ability is privileged. Fluke and Rudder bullies Gerald, taking his pail and aggressively pushing him off their rock. They pretend to include Gerald, but then they bray in their loutish sea lion voices, “Off, off, off,” chasing him from their territory.
The treatment of Gerald didn’t go unnoticed. My friend Heather Ure, a “neurodivergent femme-writer-mom” according to her Twitter bio, tweeted:
I took my little ones to see "Finding Dory" this afternoon, & overall, it was a good disability narrative, both for adults & kids. #FilmDis
— Heather Ure (@riotheatherrr) June 20, 2016
& into giving up his sand pail because he lacked "marbles." :/ That was pretty shocking ableism esp. in the context of this movie. #FilmDis
— Heather Ure (@riotheatherrr) June 20, 2016
I relate to Gerald intensely, his wanting to be accepted and being taken advantage of by faux friends/allies. I was angry for Gerald but was delighted to see him in a scene after the credits where he manages to nestle himself on the rock behind Rudder and Fluke and gives a bit of a snicker. He does have agency and is tenacious in getting his place in the sun.
Isn’t that what we all want and deserve at the end of the day, a rock of one’s own and the warmth of the sun?
In another example of ableism, Marlin the clownfish, voiced by Albert Brooks, did a lot of male fishsplaining in Finding Nemo and Finding Dory. Some of it was subtle and came in the form of microaggressions to Dory (when he subtly tried to dissuade Dory from attending Nemo’s field trip because the teacher didn’t want to worry about her safety in case she wandered) and more explicit instances when he blamed Dory for their predicament due to her disability.
When Fluke and Rudder call Becky, Marlin takes one look at her ‘eccentric’ appearance and automatically discounts her abilities. Marlin’s inability to trust the disabled animals in his life and presume competence leads them into more danger. His doubts of Becky and insistence that he knows what to do is called out by Nemo, his son with a disabled fin.
Only after Nemo points out Marlin’s ableism does he flip the script and ‘thinks like Dory’ as a way to find a creative solution. This is a clear celebration of neurodiversity and neurodivergence. Heather Ure tweeted:
knows something about neurodivergence and learning self-care. I was moved and truly surprised to find this in a kids' movie. #FindingDory
— Heather Ure (@riotheatherrr) June 21, 2016
Writer David Chen commented on Finding Dory‘s disability hierarchy in an article where he described both Gerald and Becky:
…it separates animals who are able to speak from those who can’t. The animals who can speak have inner lives, go on adventures, have the ability to help others, possess emotional richness, and generally feel and act like full human beings…Both of these characters feel like cheap jokes. For the kids that are in the audience, they send a pretty clear message: It’s okay to laugh at people who are different, or who aren’t as smart as you are.
To me, this is part of the disability experience of many people: ableism, social exclusion, discrimination, and segregation. You can laugh, celebrate, feel distressed and disturbed, and think critically at the same time. This is what great art does.
I’m glad the filmmakers included those scenes of ableist mistreatment of Gerald and Becky. I cringed during those scenes but I could appreciate the spectrum of the social experience of disabled people. It’s not all happy endings and the struggle is totes real.
There will always be playground bullies and people who underestimate you. Many disabled people know these subtle and not-so-subtle signs when we are not welcome or accepted: the long sighs, the eye-rolls, the sudden change of plans, the concerns about safety or accommodations, the ‘accidental’ exclusion to a party or meeting, etc.
Dory may have memory loss, but she can sense frustration by others as if she’s a burden to them. In fact, she blames herself for losing her parents and apologizes constantly to everyone for simply existing and asking for help (i.e., internalized ableism).
The characterization of Gerald and Becky may result in laughs by some in the audience but this could also serve as an opportunity for adults and children to reflect and wonder, “Why did I laugh when Gerald was pushed in the water? Why is it ok to judge Becky’s abilities based on her looks?”
Pixar films have never shied away from the harsh realities of life. Even with animated films geared for children or featuring young characters, it is a misconception that these films must be positive and idealistic in their storylines and characterization. Think Studio Ghibli films like My Neighbor Totoro and the moments of violence in Finding Nemo (the death of Coral, Nemo’s mother) or heartbreak and rejection in Toy Story 3 (Lotso the bear being replaced and forgotten).
#3: Collective Access
The scene that screamed disability culture to me was the one where Destiny (a whale shark with myopia voiced by Kaitlin Olson), Bailey (a beluga whale with a head injury voiced by Ty Burrell) worked together to provide access for Dory who needed someone to guide her through the pipes to find her parents. Dory communicated her needs. Destiny heard her and relayed them Bailey, encouraging him to attempt echolocation.
Bailey is able to echolocate Dory’s location in the pipe system, relays directions to Destiny, and Destiny speaks to Dory in whale (the language of access through pipes) guiding her all the way with a slight detour into Marlin and Dory.
Patty Berne, Co-Founder and Director of Sins Invalid, described collective access in a June 10, 2015 blog post as one of ten principles of disability justice:
…we value exploring and creating new ways of doing things that go beyond able-bodied/minded normativity. Access needs do not need to be held in shame — we all have various capacities which function differently in various environments…We can share responsibility for our access needs without shame, we can ask our needs be met without compromising our integrity, we can balance autonomy while being in community, we can be unafraid of our vulnerabilities knowing our strengths are respected.
Get a bunch of disabled people together and witness the collective access organically takes place. This isn’t the kind of access mandated by law or provided by an entity or the state. Collective access is community-based and relies on each person’s talents and abilities in a web of interdependence and understanding. It feels good to see people use what they have and share it with others. I love it when I can provide access to a disabled friend in my own small way like typing or reaching for something. And there’s no hesitation or worry about asking my friends for help because they get it, no lengthy explanation or apologies required.
The scenes of collective access in Finding Dory fill me with such pride and solidarity for these disabled animated sea creatures.
Disabled life forms, doing it for themselves. Each in their own way!!
Another two demonstrations of collective access occurs when Hank the septopus (voiced by Ed O’Neill) moves the baby stroller through the aquarium w/ Dory inside a sippy cup.
He’s near the ground navigating while Dory reads the signage and gives him directions.
Dory does the same when they hijack a truck (you have to see it to believe it) and Hank’s tentacles are on the pedals and wheel. Collective access, ya’ll!
Final Random Thoughts
- As a wheelchair user, I laughed out loud when Hank stole the truck and said, “Suck it, bipeds!” This is something I’ve uttered a million times.
- Another major theme is about building families–both chosen families and biological ones.
- Hank reads to me as an someone with trauma in addition to being an amputee since he does not want to be touched.
- It’s nice to see Marlin embrace and respect Dory not out of gratitude (she played a larger role in saving Nemo) but because of who she is by the end of the movie.
- The ending is wonderful when Dory accepts credit for everything she’s accomplished. She is content and comfortable in her own scales.
- Note: I am not exactly sure who voiced the roles of Gerald and Becky. In one wiki, Torbin Xan Bullock is listed the voice of Becky. In imdb.com, the same actor is listed as the voice of Gerald.
Like science fiction and fantasy, animation gives flexibility and space for new ways of telling stories and depicting characters. Perhaps that is one reason why Finding Dory is a massively better movie about disability and disability culture without explicitly being framed as one.
Alice Wong is a San Francisco-based disability advocate and Staff Research Associate at the Department of Social and Behavioral Sciences, UCSF. Currently, she is the Founder and Project Coordinator for the Disability Visibility Project (DVP), a community partnership with StoryCorpsand an online community dedicated to recording, amplifying, and sharing disability stories and culture. She is a co-partner with Andrew Pulrang and Gregg Beratan for #CripTheVote, a non-partisan online campaign encouraging the political participation of people with disabilities. You can find her on Twitter: @SFdirewolf and online: DisabilityVisibilityProject.com
*Footnote: Disability culture is described by scholar Steven E. Brown as:
People with disabilities have forged a group identity. We share a common history of oppression and a common bond of resilience. We generate art, music, literature, and other expressions of our lives and our culture, infused from our experience of disability. Most importantly, we are proud of ourselves as people with disabilities. We claim our disabilities with pride as part of our identity. We are who we are: we are people with disabilities.
Other articles/blog posts about Finding Dory
Elizabeth Picciuto, June 19, 2016, Daily Beast
David Chen, June 19, 2016, SlashFilm.com
Stacia L. Brown, June 24, 2016, The Washington Post