Disability Myth Project- Draft

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Sarah Miller

Professor Kristen Johnson

CHID 230

2 April 2019

The Myth of Disability as Isolating in Tim Burton’s Edward Scissorhands

Jay Timothy Dolmage discusses the common disability myths that condition our

understanding of disability in his work Disability Rhetoric. He argues that these myths create the

perception that disabled people are “others”, through the portrayal of them as lesser, surplus, or

improper (Dolmage, 31). One of the myths that Dolmage examines is disability as isolating or

individualizing, which is perpetrated through narratives of disabled people living in isolation,

rarely having romantic relationships or friendships, and often being left alone at the end

(Dolmage, 43). This myth can be seen in the film Edward Scissorhands, directed by Tim Burton.

Edward is a human being created by an inventor, yet the inventor’s death before his completion

leaves him with scissor blades for hands. Edward lives in a gothic mansion atop a hill,

completely in isolation until local Avon saleswoman Peg Boggs visits. She is initially frightened

by his appearance, yet decides to take him home with her upon the realization that he is

harmless. Edward’s disability causes his transition into society to be largely unsuccessful, as he

is objectified and used by other people for their benefit, and at the end of the film he is forced to

return to living in isolation after their perception of him turns to one of fear and scorn.

Edward’s isolation from society is symbolically portrayed through many film design

techniques. The mansion in which he lives at the beginning and the end of the film starkly

contrasts the community in which the able-bodied society lives. The mansion is gothic, dark, and

partially in ruins, whereas the rest of the houses are brightly colored in pinks, yellows, and

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greens, all with perfectly manicured green lawns. His appearance also separates him from the

rest of society, as he has very pale skin, dark under-eyes, black untamed hair, and wears gothic

industrial clothes. The able-bodied individuals often wear colorful or light clothes and appear

quite “ordinary”. The contrast created between Edward and society through set, clothing,

makeup, and hair design work to portray Edward and his disability as unusual, creepy, and

“other”. Peg even attempts to “normalize” his appearance by giving him different clothes to wear

and attempting to cover his scars with makeup, in the hopes that it will ease his transition into the

community. This film phenomenon is discussed by Martin F. Norden in his book The Cinema of

Isolation: A History of Physical Disabilities in the Movies. He argues that filmmakers will

separate disabled characters from their able-bodied peers not only through the storyline, but also

through a number of design elements. He also states that this technique allows filmmakers to

reflect an able-bodied point of view and reduce disabled characters to objects of fear, scorn, or

pity through their isolation (Norden, 1). In addition to the set, costume, makeup, and hair design

techniques used to mark Edward’s isolation, the plot of the film also contributes to the disability

as isolating myth discussed by Dolmage, as Edward begins to be feared and scorned by the able-

bodied society.

Dolmage argues that the myth of disability as isolating is reinforced in film and literature

through disabled characters’ lack of meaningful relationships. Edward is constantly objectified

by able-bodied individuals, and the majority of his interactions with them are when they can use

his scissor hands to their advantage. Therefore, he is unable to make many meaningful

relationships. For example, when Peg first introduces Edward to her husband and son over

dinner, her son can not stop staring at Edward’s scissor hands and makes various comments

about his disability like: “Man, those things are cool. You know, I bet they’re razor sharp”

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(Edward Scissorhands). He even asks if he can bring Edward in for show and tell at school.

Edward is also used by the majority of his neighbors for haircuts and hedge-trimming; none of

them are interested in friendship or understanding him. These scenes exemplify how Edward is

completely reduced to his disability by almost everyone he encounters, and that no effort is made

to get to know him as a person. This results in Edward’s isolation, despite physically being in the

community. At one point, Peg’s daughter’s boyfriend makes Edward use his scissor hands to

pick a lock so that he can commit a burglary, which results in Edward getting in trouble with the

police. After the community hears of this incident, Edward becomes feared and scorned. His

disability that was once used to the able-bodied individuals’ benefit became one that symbolized

danger, criminality, and “otherness” to them. At the end of the film, Edward is forced to return to

the gothic mansion and live the rest of his life completely separated from society.

Paul K. Longmore discusses the common narrative of disability that is seen in Edward

Scissorhands in his essay Screening Stereotypes: Images of Disabled People. He states that the

eventual separation of the disabled character from their community is portrayed as “the

inevitable consequence of a serious physical impairment that prevents normal functioning,

normal relationships, and normal productivity” (Longmore, 6). This inevitable consequence of

separation for Edward is discussed in the film by Peg and her daughter, Peg stating that “You

know, when I brought Edward down here to live with us, I really didn’t think things through.

And I didn’t think about what could happen to him… or to us… or to the neighborhood. And

now I think that maybe it might be best if he goes back up there” (Edward Scissorhands). This

quote reinforces the idea that Edward never had a chance to integrate into society, and that if Peg

would have thought things through, she would’ve seen that his return to isolation was inevitable.

He couldn’t function normally, as he had trouble eating, dressing himself, or even touching

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anything without destroying it. He also couldn’t have normal relationships, as he was constantly

objectified and used. For both of these reasons he couldn’t be a productive member of society,

and therefore Longmore would argue that his eventual separation from society was certain to

happen.

In the film Edward Scissorhands, Edward is isolated from society in various ways due to

his disability. His isolation is not only portrayed through major plot points, but it is also marked

symbolically through set, costume, makeup, and hair design. Edward is constantly objectified

and used by his community, resulting in his inability to have meaningful relationships and

ultimately his forceful separation from society. According to Dolmage, this narrative of a

disabled character living in isolation, unable to make meaningful relationships is very common,

and effectively perpetuates the myth that disabled people want to or need to be isolated. He also

argues that the perpetuation of this myth in the media has real-world consequences, and

effectively justifies the segregation of disabled and able-bodied individuals in schools and other

institutions (Dolmage, 43). Longmore also addresses these adverse consequences in his work,

stating that these myths affect the activities, identities, and sense of self-worth of disabled

individuals by ignoring possible antidiscrimination and accessibility laws (Longmore, 6). Films

like Edward Scissorhands not only reflect the myth held by many people that disabled people

should be isolated, but also perpetuate the myth and expose it to a large audience. This

perpetuation and exposure results in the justification of oppression of disabled people and

therefore film and other media types should seek to represent disabled people in a more accurate

light.

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Works Cited

Dolmage, Jay Timothy. “An Archive and Anatomy of Disability Myths.” Disability Rhetoric.

Syracuse University Press, 2013

Edward Scissorhands. Directed by Tim Burton. 20th Century Fox, 1990.

Norden, Martin F. The Cinema of Isolation: A History of Physical Disability in the Movies. New

Brunswick, N.J: Rutgers University Press, 1994.

Longmore, Paul K. “Screening Stereotypes: Images of Disabled People.” Social Policy 16.1

(Summer 1985)