Dissertation

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Abstract
In recent years, there has been an ever-increasing amount of British televisual media
content focused on disability, in particular factual programming. Therefore, it is crucial
to define whether these representations have proven to be positive or negative.
This research used the textual case-study of series one of The Undateables (2012,
Channel Four) as a foundation to more broadly consider whether televisual
representations can be accurate and reflective of disability, or if they simply create a
constructed and biased image.
The focus on televisual portrayals in particular, is due to the fact that it is a powerful
and influential medium within modern society. It can be argued that this medium has
the power to create and reinforce constricting labels.
Through the investigation of the televisual representation of disability in The
Undateables I explored the hypothesis that negative ideas, images and attitudes of
disability are not natural. Instead they are maintained, reinforced and constructed
through the motivations and strategies of mainstream televisual production.
In order to gain detailed, qualitative findings this research shall use the method of
content analysis. This method provides a detailed view of the text’s portrayal of
disability, through analysis of the media language; image-track, sound-track, editing
and narrative construction.
The most significant and recurring portrayals found were: the concept 'othering',
pitiable, undesirable, amusing, and a burden. These portrayals were shown to have been
most commonly communicated through the use of the narrator’s disabling language
(terms which carry connotations of condescending sympathy, with negative and
regressive undertones), camera angles and the sound track’s use of music and pauses.

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Introduction
Disability
The representation of disabled people within the media remains, as it always has been,
a controversial issue.
The concept of disability within the entertainment industries stems from the harmful
and ignorant images created by the exploitative 'Freak Shows' of the 19th Century.
Society has evidently moved on from such crude spectacles, however, disabled people
are still often used by the media to provide comedic value, shocking images, or to
provoke feelings of pity.
Previous research into the representation of disability within the mainstream media has
evidenced both under and negative representation (Cumberbatch and Negrine 1992,
Barnes 1991, Warde et al. 2006). Many texts, even today, reflect the oppressive
Medical Model (World Health Organization: WHO 1980) which reduces disability to a
personal construct, even when aiming to create a 'positive' image of disability. Such
representations tend to focus on the idea that the disabled subjects were able to 'bravely
overcome' their personal malfunction.
In recent years, there has been an ever-increasing amount of British televisual media
content focused on disability, in particular 'factual' programming shows. This focus is
arguably because of the social status of disabled people, they are a relatively an under-
exposed minority in terms of media coverage and public awareness, and largely society
has the desire to discover more about them. Due to this interest and rise in portrayals, it
is crucial to define whether these representations have proven to be empowering or
crippling.
This trend is exhibited most prominently in the sub-genre of 'shock docs', shown in the
British long running series of Bodyshock, (2003, Chanel Four) Extraordinary People,
(2009, Channel Five) and Born to Be Different (2011, Channel Four). The
representations created illustrate the dubious semantic nature of the descriptor ‘factual’
programming. Such shows fit to the trends of highly manipulated/ manipulative
‘reality’ programming, rather than to documentary traditions. They also use the
regressive freak show formats of portraying disability as fascinating phenomena, with a
narrative focused on the journey of minimising or even ‘curing’ the unfortunate

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impairment. Such shows, however, are now largely seen as an unacceptable
representation which has subsequently forced the television industry to modify its
representations of disability.
My research aims to focus on a new form of televisual representation of disability as
evidenced by The Undateables series one (2012, Channel Four). Such representations,
instead of shocking viewers with drastic disfigurement, provide a condescending yet
amusing insight into disabled people's lives, with the age-old tradition of 'othering'
those who are different. This shift can be linked with the rise of reality television over
the last two decades, and the voyeuristic audience interest in the lives of ordinary
people.
Research Aims
Within this research I will examine the ways in which disabled people are represented
in the mainstream Channel Four documentary: series one of The Undateables. I shall
use my textual case-study as a foundation to more broadly consider whether televisual
representations can be accurate and reflective of disability or if they simply create a
constructed and biased view for motivations other than authenticity and audience
enlightenment. The Medical Model (World Health Organization: WHO 1980) defines
disability as an individual medical problem, in comparison to the Social Model (UPIAS
1976), which argues disability is a social construct, and emphasises societal change not
the individual. Such models provide a framework through which I can explore the
nature of disability's representation, used alongside previously defined stereotypes of
disability as pitied, 'othered' and as adding comedic value (Barnes 1992, Abberley
1987, and Cumberbatch and Negrine 1992).
Rationale
The topic of the representation of disabled people became of interest to me because I
have previously found media representations, that I have personally come across, are
shockingly harmful, with the focus on impairments and its negative implications. I felt
the portrayal gave a reductionist and condescending view which largely fit within the
Medical Models definition. Within The Undateables in particular, I found the use of
comedic conventions to exhibit regression back to the concept of laughing at disability.

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Such negative portrayals fuelled my interest to gain a better understanding as to why
such representations within the media are as they are.
Influencing my decision further was the fact that existing research in this area is scarce.
This is especially apparent in comparison to other marginalised minority groups (along
ethnic or gendered lines, for example). Underrepresentation is also reflected in the
amount of coverage disabled people receive from within the media itself. As the
imagery is so limited, the importance of the portrayal increases drastically, as any text
which focuses or represents disability arguably becomes more influential.
I chose to focus on televisual portrayals in particular as it is a powerful and influential
medium within modern society. It can be argued that this medium has the power to
create and reinforce constricting labels. With regards to the genre of factual
programming, this interested me as it alone carries many dangerous and false promises
of upholding the claims of realism, with the use of recognisable conventions that
exhibit the idea that the media has the ability to objectively reflect society and
individuals. This is a claim that interests me and which I believe should be investigated.
I shall consider the extent to which production and entertainment values diminish the
realism of these texts, and create a constructed and ‘false’ view of disability.
Hypothesis
Through the investigation of the televisual representation of disability in series one of
The Undateables I will explore the hypothesis that negative ideas, images and attitudes
of disability are not natural. Instead they are maintained, reinforced and constructed
through the motivations and strategies of mainstream televisual production.

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Literature Review
In order to consider the televisual representation of disability it is vital to first outline a
working definition of what is meant by the term 'disability', and the connotations it
holds within modern society. Disability is often considered to describe a group of
individuals who have a physical or mental impairment which affects their day-to-day
lives and activities. As Barnes and Mercer (2003, p. 1) explain "disability has been
equated with 'flawed' minds and bodies. It spans people who are 'crippled', 'confined' to
wheelchairs, 'victims' …or 'suffering'”. The idea of disabilities being a “'tragic'
aberration which afflicts a minority of people” is echoed by Marks (1999, p. I).
Historically, the definition of disabled people is oppressive and imbued with negative
connotations. They are described as physically and socially flawed people, not as
individual people with their own identities and circumstances (Hevey 1992).
When exploring the definitions surrounding disability there are two main models to
consider: The Medical Model and The Social Model. These both give important
frameworks through which disability can be experienced and understood. The Medical
Model of disability is a socio-political model which defines disability to be an
individual's problem, and is closely tied to the functional limitations of their bodies
(Swain et al 2005). Here, disability is viewed as undesirable and signifies disorder. It is
something to be cured, overcome, or hidden (Davis 1995). Within society people look
to 'experts' to define and fix them, medical professionals assume this role in the case of
disability. The study of the '1985 Manchester International Conference on the
Education of the Deaf' illustrates this concept of disability being a restrictive social
product, as the focus was solely on a new 'solution' found to fix the impairment
(Abberley 1987).
It is important to closely consider this model, in relation to the way in which it has
affected the dominant ideologies around disability that circulate within modern society.
The Medical Model is arguably still largely present within contemporary society. The
images created around this model are harmful and oppressive, as it encourages
connotations of disabled people being dependent on, and different to, the majority. To
begin to understand how social understandings of disability are created and reinforced,
it is important to consider the impact of powerful institutions. My research will use the

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framework of this model to illustrate the ways in which it is still largely present within
society, and repeatedly reinforced by popular media representations of disability.
As Barnes notes: “Since the emergence of the international disabled people’s
movement in the late 1960s, traditional medical explanations for the various economic
and social deprivations encountered by disabled people have gradually given way to a
more socio/political account, widely referred to as the Social Model of disability”
(2000, p 441). This model was created as a reaction to the oppressive, medicalised
ideologies provided by the preceding frameworks of the Medical Model. It introduced
the idea that the problems disabled people face are due to the physical and ideological
structure of a society (Tregaskis 2004). This model clearly differentiates between the
idea of 'impairment' and 'disability'. It argues that disability is the disadvantages of or
restrictions on an activity caused by social organisations (Swain et al 2005).
Impairment is defined as the physical characteristic, which refers to some bodily defect,
usually constituting a medically classified condition (Mulvany 2000). Together, these
definitions propose that disability is a social construct formed by reactions to
impairment. Society's views and reactions to impairment lead to an experience of
exclusion from society, which is created by social and physical barriers (Thomas 2004).
This model provides a significantly less damaging and harmful framework through
which we can view disability. It is still not, however, the predominant model used
within contemporary Western society. The Social Model is rarely considered within
definitions of disability provided by the media. Using this model to closely examine the
crude representations of disability within the The Undateables, will allow me to better
determine how this could be defined as a damaging social barrier to disabled people
constructed by mainstream British television.
The popular media is one of these most prominent public agents in terms of
constructing our views on the social world. Television in particular is an important
medium for my study to consider, as it is available to mass audiences for consumption
within domestic contexts of the home, as has been the case for over half a century. 98%
of UK homes have a television set and consumers spend around 24.75 hours a week
watching them (Barnes, 1991). Moreover, there is a deep-rooted assumption that
television produces 'realistic', 'common sense' representations, and therefore
recognisable and familiar portrayals of the social world (Biressi and Nunn 2005). The

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values and ideologies within television shows are transferred to consumers through the
media language and the representational strategies used.
Many theories have been developed surrounding this fundamental idea, that
representations have the power to create and influence an audience's views. These
studies are vital for my research to have a framework through which I can begin to
contextually analyse The Undateables and outline possible meanings that the media
language and representations produce.
Media representations, however realistic, are always constructed and mediated. Media
language is used to communicate with audiences. This communication is inevitably a
representation which can only ever re-present the world. A text automatically mediates
between the audience and what is being presented (Dyer 1985). Texts relay
connotations to audiences through recognisable media language. This language, used
by both consumers and producers, is a complex system of representational signs and
conventions which convey meaning with both individual shots and longer edited
sequences using both visual and aural components (Bignell 2008).
Hall (1997) expands on these ideas, describing media language as operating as a
representational system, which uses signs and symbols to represent feelings and ideas
to audiences. Development on this provided an outline of three approaches, which
described the way in which we can begin to understand the different ways that media
meanings are created. The reflective approach describes the media to have the ability to
reflect an objective reality, the intentional approach views representation as
constructing our knowledge and understanding of a reality, and then the constructionist
approach argues that the media creates meaning but that this is based on a material of
reality of which media consumers already have knowledge. The latter is considered the
most viable approach as it does not naively assume that the media can provide a
window to the world, or that audience experience has no effect of the construction of
media meanings.
My research into the The Undateables representational strategies, aims to use the
constructionist approach as a basis upon which I can view the way that the text relates
to society's views on disability, and consider any possible negative implications of this
for audiences.

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Stereotyping is a crucial aspect of representation to consider within this research. This
representational technique allows producers to create a 'short cut' to meanings for
audiences which reduce complex information about a person or group, to create simple,
recognisable 'characters' (Rayner et al 2004). These characters are then rather crudely
defined by what they represent rather than being genuine individuals, (Lacey 2009) and
are woven deeply into the fabric of television programming, which can have harmful
effects (Gunter 1986). Tessa Perkins (1997) expanded, although some stereotypes are
based on truth, many are harmful, they dehumanise and group complex individuals into
generalised categories, and they have the ability to marginalise and devalue a group
within society.
This theory can be clearly linked to my own research into disability. Representations
often revert to stereotypes as an effective way to easily communicate meanings to the
audience. However they are often reductionist views, and provide a negative,
unrealistic portrayal. Within this research it is important to consider how past
stereotypes of disability are reflected within The Undateables, and I will use this
concept alongside previous findings of recurring stereotypes as a framework my
content analysis of the show.
Another significant area to explore in relation to representation is the concept of
‘realism’. Realism in relation to media production and consumption is the idea that a
media text can factually present specific real world events (Hall 2006). This concept is
important to consider as my research focuses on a television format which is described
as having a dual function of educating and representing, providing a guided tour
through aspects of real experience (Armstrong 2004). This genre in particular makes
claims of truth telling, actuality and authenticity through its recognised conventions,
such as the use of 'real' people, having unscripted dialogue, un-staged construction, and
the claim of showing natural-occurring behaviour and events (Wilson 2012).
The criticisms and issues surrounding the concept of realism however are important to
my research. There is the issue of whether the media can objectively show events with
no influences, and is there even an objective reality that can be represented? Such
questions are vital for me to explore. A significant argument against this would be the
clear influence of entertainment values. The often competitive, commercial priorities
behind the production of media texts mean that they must aim to attract an audience

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with enjoyable or otherwise appealing content, not just through informative content.
Consequently, the boundaries between entertainment and information, and between
knowledge and spectacle, have become blurred within the values of documentary
programming (Jerslev 2002).
The importance of entertainment values is especially true within the institution context
of Channel Four which aired The Undateables. Every institution has their own
objectives and values set within programming. Channel Four was initially set up to
offer a representation of, and for, alternative groups, which previously were not catered
for by the BBC and ITV (Blanchard and Morley 1982). Channel Four themselves argue
that they aim to find exciting, diverse, original and qualified factual entertainment. This
dual emphasis upon both social purpose and appealing entertainment can arguably
influence their motives when commissioning and/or producing ‘factual’ programming,
so this is an important institutional context for my research to explore.
An apt starting point for my work is the influential study of Cumberbatch and Negrine
(1992). This was one of the first studies to place disability within a context of social
meaning. Using the methods of content analysis and group discussion, they focused on
media portrayals of disabled people and the reactions to such portrayals. They found
that disability is widely underrepresented, and even though focusing on television it
was actually shown that the majority, 41%, (1992, p. 51) of representation was in
feature films shown on television. Due to the little coverage, the image constructed of
disability was very simplistic and narrow. This view does two things, it makes the
effects of what is shown more significant, and it creates stereotypical images of
disabled people. Some of the stereotypes they found included: unfortunate but plucky
or brave; abnormal; evil or criminally inclined; and dependent. These mirrored Barnes
(1991) previous findings, which highlighted stereotypes such as pathetic, sinister, a
burden, and sexually abnormal.
With regards to the reaction of audiences, it was found that there were many issues
surrounding the definition of a disability, and that the main reactions were fear,
patronising responses, pity, and mockery. Overall, the UK was evidenced in this
research to be less progressive with higher responses around pity, mockery, and being
patronising than in the US.

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Although this study is an important foundation for understanding disability
representation, it has its flaws - its age and therefore its continued relevance to the
contemporary televisual experience being a significant one. To look into any
representation (even of a minority, underrepresented group), it is impossible to now
look at television as a whole, as (in the digital, transnational age) it is such a complex,
extensive landscape. The study also lacks external validity, as these findings can no
longer be generalised and applied to contemporary society. Inevitably the social world
has changed in ways which will be both reflected in and perpetuated by the media.
A more recent study which focuses on the representation of disfigurement on television
and resultant audience perceptions is by Wardle et al (2006). This study again uses
content analysis of television programming, alongside focus groups, and interviews
(with careers, nurses for example). The results echo previous findings of
underrepresentation, and representations being often reduced to stereotypes (such as
evil and extraordinary). This study however, furthered the discussion by arguing that
their bodies are repeatedly objectified as sites of voyeuristic fascination; with the focus
largely if not exclusively on their disability.
Similar findings in more recent research is also shown in Corker and Shakespeare’s
work (2002, p. 185). This focuses on disability in the context of post modernity,
arguing that the media is in need of either a 'truthful depiction' or more 'positive
images'. Also Riley (2005) mirrors these findings, and describes the media as showing
a patronising view where disabled people overcome obstacles and are inspirational in
overcoming the odds.
Whenever exploring media representation and its possible effects, it is also important to
consider the concept of an ‘active audience’. This concept focuses on assessing what
people do with media and their ability to negotiate meaning as active agents within the
meaning-making process (Mensilang 2011). The media is described as a site of struggle
over power and meaning, it is not a simple exchange of a message, or a process of
cause and effect (Chapman 2009). Audiences are no longer seen to passively accept
values and representations, rather they can use the media to accept, negotiate or reject
the meanings provided. This has progressed with the audience's ability to recognise the
media as a constructed re-presentation which is used for specific purposes (Simpson
1998).

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Within my case-study of The Undateables it is important to consider that audiences are
likely to expect the extensive manipulation of footage and accept the lack of accuracy.
Many consumers can recognise that it is a 'factual programme' in which values have
moved away from documentary pretensions of an educational form, to the
entertainment forms of reality television.
The Undateables is profitable textual case- study to consider in relation to the
representation of disability. It is a clear illustration of a hybrid television format,
combining conventions from both reality television and factual programming. With its
claims of a ‘fly on the wall’ technique it gives a sense of 'truth telling' and
verisimilitude, yet it exhibits a prioritisation of entertainment and comedic values
through its narrative construction. As previously discussed, this can be a harmful
technique, as any false claims of realism can make the nature of representation even
more significant, and the meanings presented are likely to be viewed as truth.
Another factor which contributes to the case-study’s relevance is that it has been widely
discussed in relation to its damaging representations, "it suggests disabled people are
still fair game to stare and laugh at" (Widely 2012) and implies disabled people are not
the same as everyone else, doing nothing to diminish stereotypes about disability
(Muehlemanns 2013). This controversy invites further consideration of the
representations that the show generates and how such representations relate to social
understandings of disability.

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Methodology
In order to gain detailed, qualitative findings this research used the method of content
analysis. Content analysis is a set of procedures for collecting and organising
information in a standardised format, it allows analysts to make assumptions about the
characteristics and meaning of written and other recorded material (Chelimsky 1989,
p.6).
To understand and document the representations and dominant ideologies within The
Undateables, I closely analysed the text’s media language; image-track, sound-track,
editing and narrative construction. Using a framework which is based around recurring
themes within the program, such as comedic conventions, the depiction of isolation
from the majority, and the view that they are a burden, I will explore the significance of
the representation alongside detailed examples.
This method has repeatedly been used amongst researchers who aim to explore the
nature of the representation of disability within a textual study (Barnes 1991,
Cumberbatch and Negrine 1992, Corker and Shakespeare 2002, and Riley 2005).
However it is usually used alongside other methods, such as questionnaires and focus
groups. This reduces the researcher’s influence and increases generalisability and
validity of the findings (Wimmer and Dominick 2011). My research shall only focus on
the use of content analysis. Whilst I appreciate the associated limitations in using only
one analytical approach, this reduces the ethical issues surrounding other methods, and,
as previous research has evidenced, their findings often mirror those of content
analysis. My study will provide more focused results.
Previous researchers have also emphasised the importance of a large sample for textual
analysis. This research, however, shall be focussing on a single case-study text. I
appreciate that the analysis of one textual case-study alone can only tell us so much.
Given the word limitations of this research, the detailed consideration of this single
case-study will offer a solid conceptual foundation which can be built on by subsequent
research.

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Findings and Discussion
As an attempt to provide a framework for the ‘themes’ presented within the findings of
the content analysis, this research shall use pre-established stereotypes of disability,
which within previous research have been defined as significant (Barnes 1991,
Abberley 1987, and Cumberbatch and Negrine 1992). The most significant and
recurring portrayals found were: the concept of 'othering', pitiable, undesirable,
amusing, and a burden. These portrayals were shown to have been most commonly
communicated through the use of the narrator’s disabling language (terms which carry
connotations of condescending sympathy, with negative and regressive undertones),
camera angles and the sound track’s use of music and pauses.
Comedic Conventions
The first series of The Undateables clearly exhibits many comedic conventions, shown
through the depiction of issues specifically surrounding disability, and also the more
general issues of dating. My research found that this is generally done through the
consistent use of recognisable 'slap stick' style music, the narrator's condescending
comments, and the sound- track’s emphasis of awkward blank pauses, which are in-line
with the popularity of cringe comedy conventions, shown in ‘mockumentary’ formats
like The Office.
Within the first scene of Episode One the tone of the show is set with the depiction of
Sam, a male with Down’s syndrome, explaining and illustrating his 'ideal' girlfriend.
The scene starts with a mid-shot of him looking directly into the camera addressing
what he is going to do. This type of shot is frequently used within The Undateables
when introducing characters, the straight-on angle, alongside the lack of music and use
of pauses, generating a sense of awkwardness which can provide an amusing element
for audiences.
The scene continues with the depiction of him drawing a stick woman, which is
constructed alongside an equally simple description, provoking a sense of amusement
and superiority for the audience. These images and connotations are
anchored by the narrator "he's never been on a date, or even kissed a
girl". Comments similar to this are frequently passed by the narrator,
as evidenced by other arguably condescending comments such as

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"Just as the date seems to be going well…Haydn's bad hearing gets in the way"
(Episode Three) "For the first time in twenty years Richard has managed to see a date
through to the end" (Episode One) and "He hasn’t had a date for 3 years" (Episode
Two).
This use of a condescending lens for the events shown on screen provides the audience
with a sense of pity for the character, and one of relief in relation to their own personal
situation. This concept carries regressive connotations of looking down on disability.
This is continued as Sam draws and says 'boobs' there is a slight pause, followed by a
comment from the narrator: "(looking for love is a tricky task)…but some people find it
harder than others".
This scene is packaged within a sequence comprised of a fast-paced montage of visibly
disabled people's descriptions of love. The whole sequence is anchored with the
soundtrack of When I Fall in Love (Victor Young, 1952). This music is continued until
Luke, a man with Tourette's Syndrome, defines his perfect relationship, ending with
him having a tick which causes him to shout "wanker". The music is then abruptly cut
exhibiting the first attempt to create an 'awkward silence'. Immediately after this the
music track is swiftly changed, with the introduction of a different, more up-beat
comedic styled track (exhibiting ‘slap stick’ conventions as previously described). This
particular technique is often used with the representation of this character, as a clear
attempt to create amusement in relation to his verbal ticks.
The use of silent pauses is also often shown in Episode Two in relation to Shaine, in
particular it is exhibited within his first date, which uses a pause of sound for a
continuous 11 seconds. This technique exaggerates the
awkwardness of the date, as a pause of the whole sound track for
so long is extremely rare within the presentational grammars of
televisual programming. This puts the audience into the position
of empathising with the tension, whilst providing a chance to
laugh at the situation.
Finding a use of comedic conventions within The Undateables is significant in relation
to the idea that it gives the audience a sense of superiority, and maintains the idea that it
is acceptable to laugh at disabled people in relation to their differences. However, it is
important to consider that many dating shows use comedic elements to portray the

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issues of dating, such as awkward silences and self-consciousness, as shown in the
popular series of Take Me Out (2010). This technique is often used to encourage a
sense of empathy, which allows the audience to relate to the uncertainty of dating,
however, as The Undateables portrays such an underrepresented minority these
conventions can be more damaging within this context.
Though it can be argued that the comedic conventions can be construed as negative
representation, it is important to consider how it is also positive. This is exhibited
within Episode Ones portrayal of Luke as a stand-up comedian. He is shown to gain a
positive response from the crowd with close up shots of people laughing and smiling
with his immediate and direct joke surrounding his condition "(growing up with
Tourette's) I couldn’t play games like hide and seek, think about it…I'm in the bushes".
This places comedy within a context from which the joke can be positively received.
Luke is shown above the audience on a well-lit stage, as the camera angle looks up to
him in a mid-shot. These techniques move away from the concept of laughing at
disability, the joke is performed personally by him, he is poking fun at his differences
which provides an insight for audiences, whilst removing any constricting barriers.
This is an illustration of the programmes efforts to move away from the previous
representations often provided within ‘shock docs’. It does not rely entirely on the
framework of the aforementioned Medical Model. Instead, the show offers an insight
into disability, providing relatable and vulnerable characters, which provides a human
element and in many ways encourages empathy, rather than the complete ‘othering’ of
the disabled individual as someone ‘broken’ to be ‘fixed’. This is an interesting
progression in terms of televisual representations of disability which arguably moves
away from the overly politically-correct model, as the representation aims to portray all
individuals under the same entertainment values with no ‘special’ exceptions. This is
shown with the representation of non-disabled characters, such as Charlotte (Haydn's
date, Episode Three) she is also portrayed with close up shots which are unflattering,
and the awkwardness of the date is shown to be from both sides within her comment
"I'm just so nervous". However, she is shown to carry the conversation throughout the
day and manages to down play a possible awkward moment when Haydn can't hear her
properly, so her representation is slightly more positive.

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The significant debate between critiques regarding whether The Undateables offers
socially positive or negative representations of disability is complex. Positively it
allows audiences to laugh and empathise with the characters, however conversely it can
be shown as negative, as this arguably only provides self-gratification for the audience,
and moves toward to concept of laughing at disability. This reverts back to the debate
surrounding the issue of a passive or active audience, relating to whether audiences
simply accept the condescending portrayals presented in the show, or whether they
negotiate their own meanings. It can be argued that within contemporary society the
concept of an active audience is more valid than passive, the audiences are more aware
of producer's aims to attract a large audience, and accept their tendency to value
entertainment and voyeurism above education and enlightenment.
Separation, Undesirability and a Burden
The Undateables representation often portrays disability to be different from the
‘majority’ and separates their issues from our own. This is done through the general
description of the characters' lives with the emphasis of their disability, and can often
be linked to the idea that disability creates a burden for others. There is also the
representation of undesirability shown alongside this, constructed through certain
camera angles, such as extreme close ups and descriptions of the condition. Such
representations work to indicate that disabled people are a socially flawed group, rather
than individuals whose barriers are constructed by a restrictive society, reflecting the
ideas of the Medical Model.
Such undesirable representations are mostly found among characters that can be easily
compared to able bodied people, whether it is their former self (Carolyne) or a close
relative (Haydn and his twin). This is arguably done as audiences can emphasise more
with the concept of having a disability later on in life and the feelings of inferiority to
others, as it could still happen to them so the concept is more relatable.
Shown with Justin in Episode Three, whose identical twin did not develop the same
facial deformity, the comments made when introducing him are negative and describe
his condition as "unfortunate". This is illustrated when he personally describes his
condition as "unlucky", reinforced by the narrator who anchors
images of his deformity with the comment "Haydn has a daily

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reminder of what his life could have been like, in his twin brother Ashley". This
provokes ideas of pity and undesirability with regards to his condition, Haydn further
expands "It’s always been a dream of mine to look exactly like him, cause he gets all
the girls". This process of comparison is a continuous presentational strategy when
following Haydn’s story.
Similar techniques are employed with the representation of Carolyne in Episode Two,
who awoke at 24 years old paralysed from the neck down. When her condition is
described the music track is slow, and connotes sadness with its recognisable use of soft
piano notes. It is also described to have negatively impacted her life, as it resulted in the
loss of her childhood sweet heart: "he couldn’t stand looking at me sat in a chair".
Additionally, it is shown to be a challenge for the future of her love life. This portrayal
reverts to the concept that disability is a barrier which she, as an individual, should
overcome in order to ‘fit in’. The narrator anchors a mid-shot which looks down on
Carloyne as her friends help her get ready for a night out, as she
explains: "Carolyne has adapted to life in a wheelchair". This
comment has ambient music which is more upbeat and positive,
arguably celebrating her willingness to overcome the misfortune of
her disability.
The representation of disability being separate and different to ‘us’ is epitomised by
Richard (Episode One), a character who often provides entertainment through comedic
situations, but he is also often separated as different throughout his ‘search for love’.
Such problematic differences are signalled up-front by the narrator’s comment:
"Richard’s Asperger's means he finds it hard to change his way of thinking... his lack of
flexibility will make it a challenge for the agency to find his dream lady". This also
suggests that he is a burden to the dating agency and that his disability has become the
biggest obstacle he must overcome in order to gain a ‘normal’ love life. His condition is
portrayed as an individual problem which affects everyday tasks negatively. Mainly
exhibited through his difficulties with organising travel to his date, when his mother’s
car will not start she must sort-out the situation for him and call him a taxi, suggesting
also that he is a burden for his mother. The whole situation is represented through the
use of a hand-held camera which is unbalanced and rarely static, continuing feelings of
instability and, at times panic. However alongside light-hearted music it represents the
situation as overly dramatic and odd. The scene concludes with a shot of Richard’s

P a g e | 18
mum letting-out a sigh of relief that she has sorted the
situation for him, implying the issue was over exaggerated by
Richard.
These representations are often closely linked to the concept of him being different to
‘us’. This is illustrated in many ways but is epitomised through the representation of
Richard when he speaks about how he views himself. When he explains to the camera
that he is getting a lot of interest on his profile as he is good looking, an unflattering
extreme close-up shot is used alongside the comedically styled music, and the
cameraman’s condescending laugh at Richard’s response. This portrays Richard’s
confidence to be unfounded and odd, undermining his opinion until the end of the scene
is abruptly cut to the title The Undateables. This representation is continued with
Richard when, on two occasions, he flexes his muscles, shown on screen for a
calculatedly long amount of time (up to 35 seconds), providing a comedic element
alongside the portrayal of his behaviour as ‘odd’ and separate to the majority.
This kind of representation which portrays disabled people as separate to ‘us’ is
arguably harmful, as it is objectifying and distancing them from the audience. This
connects clearly with the Medical Model as it exhibits a focus on the disability itself
above the individual. However it is important to consider that The Undatables is
focused on people with disabilities so it is inevitable that this is a focus of the
representation. Also as it is a new form of factual programming which portrays disabled
people in ‘real life’ situations, therefore there is inevitably an exaggerated element of
interest from audiences surrounding disability within this context, as it is such an
underrepresented minority.
With regards to the finding that disability is portrayed as undesirable and a burden, this
is significant in relation to its audience effects. The regressive representation could
possibly have the ability to reinforce negative attitudes and ignorance about the nature
of disability. However viewers could recognise it as a hyperbolised, comedic version of
disability, and therefore not something that connects with ‘real-world’ disability, it is
simply a form of entertainment. Though, this in itself is rather sinister, as it suggests
that disability is ‘fair game’ for ridicule by non-disabled producers and viewers.

P a g e | 19
Conclusion
The analysis of the textual case study of The Undateables has enabled this research to
uncover an inevitably constructed and arguably 'false' view of disability. Illustrating
that, largely, disability is continuously being represented within the constructs of a
restrictive and regressive Medical Model. The mirroring of negative stereotypes
outlined within previous research (Barnes 1991, Abberley 1987, and Cumberbatch and
Negrine 1992) further illustrates that representation provided by British programming
has done little to progress to the Social Models definition. This is illustrated within The
Undateables evident portrayal of disability as pitiable, 'othered', undesirable, amusing,
and a burden. These depictions are clearly and continuously portrayed through the
media languages; image-track, sound-track, editing and narrative construction.
However, The Undateables representation of disability has proven to have moved away
from the regressive format of 'shock docs'. Although, whether this can be viewed as an
entirely positive step is debatable. The progression shown can be argued to be a tactical
move by the televisual industry, as an attempt to sustain audience interest with a move
toward reality programming conventions which provide an entertaining, yet false
portrayal. These representational strategies are shown to uphold motivations of
entertainment values above authenticity and audience enlightenment.
As previously acknowledged there are limitations that should be considered when
interpreting these findings. In regards to hypothesis and the concept that consumer's
attitudes and images of disability are constructed, reinforced and maintained through
such representation, it is important to acknowledge the audience's ability to recognise
the media as a constructed re-presentation. The concept of a passive audience is largely
disregarded as a valid insight into the way in which consumers interact with the texts
meanings. Within contemporary society audience's hyper awareness in regards to the
construction of the media is pivotal concept. Consumers are able to recognise that
factual programming's values and representations have moved away from educational
purposes to the entertainment form. Such awareness inevitability implies media effects
are largely questionable, so little conclusion can be drawn upon these impacts.
However, this research can clearly illustrate British factual televisual programming's
limited and arguably regressive representation of disability as a clear construct of
entertainment values.

P a g e | 20
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