Cripping the Screen: Reframing Temporality in Media Narratives Through the Lens of Crip Time
Abstract
This study explores disability theory of time—an important concept emerging from the field of disability research—and advocates for disrupting the normative framework to reconstruct the cognition of time—and to reconstruct the form of contemporary film and television narratives. Traditional film and television narratives often follow linear temporal logic, emphasizing the achievement of goals and the resolution of contradictions. This model tends to exclude the disabled experience that cannot be accommodated. By analyzing five film and television works (“Camp for the Disabled,” “Special,” “Peanut Butter Falcon,” “Casual,” and “Diddy”), this article reveals how discontinuous timelines, open endings, and flexible narrative rhythms challenge established paradigms. Combining text analysis and a mixed-method audience survey (with 152 valid samples), the study focuses on the interactive relationship between image aesthetic strategies and audience feedback. The data show that there are significant differences between disabled and non-disabled audiences in terms of scene resonance, emotional immersion, and narrative satisfaction. The research revealed that time spent with people with disabilities is not only a tool for artistic expression but also a key avenue for reconstructing the creative paradigm. By emphasizing interpersonal relationships, uncertainty, and real-life experiences, it offers new possibilities for breaking the inertia of traditional narratives. This research result expands the cross-disciplinary dimension of media studies and disability theory, advocating for the establishment of a more inclusive temporal narrative system in creative practice.
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