Seen
"What are you doing in the dark?"
A Patch of Blue (1965)
Points
for Reflection
Douglas C. Baynton's "Disability and the Justification of Inequality in American History" (DSR 17-34)
- Baynton observes that, post-18th century, western societies have been much less comfortable with social inequality. In what areas have we made the greatest strides, and in which the least?
- Baynton maintains that ableist ideas—those biased against individuals with disabilities—underpin all sorts of prejudice, including sexism and racism. Can you identify examples of such ableist rhetoric in campus conversations?
- Surprisingly, Baynton also notes that ableist ideas are sometimes employed not only by the aggressor but by the defender--by victims of sexism, racism, and xenophobia. What does this suggest about how difficult it will be to erase ableist assumptions?
- Do you think the concept of “monstrosity” appropriate to deploy in certain situations? Is there such a literal thing as a “monster,” or does it always involve prejudicial assumptions about someone else’s appearance or behavior?
- How often do you find yourself using--figuratively instead of literally--words like “blind,” “deaf,” “lame,” and “idiotic”? What impact does such metaphorical language have on our conceptions of disability?
- How would you define “normal,” particularly as it applies to morphology and mind? Do you think this a better concept than “natural” when talking about ideals inscribed on the human body and brain?
- Do you think that the ideals of progress and advancement can coexist with the principles of equity and diversity?
- Has evolutionary theory countered or fanned the flames of prejudice directed at those with physical and cognitive differences? Do eugenic ideas tend to employ evolutionary theory?
- How has ableist rhetoric buttressed racist ideas and practices (DSR 20-23)?
- Have advocates for gender equality proven as guilty of ableist rhetoric as their sexist opponents (DSR 24-26)?
- What types of criteria did immigration policy employ when choosing who could enter the United States in the nineteenth and early twentieth centuries (DSR 26-30)? How many of these variables were tied to notions of able-mindedness and the able body?
- In what ways have individuals with disabilities perpetuated ableist stigma themselves (DSR 31)?
Guy Green's A Patch of Blue (1965)
- At what point does the film’s title appear, and why does this scene matter?
- This film tackles a number of historically disadvantaged identity factors, some of which collide in powerful ways. In what ways do these categories overlap and influence one another?
- Who seems more at risk in this film? People of color, the working class, or those with disabilities?
- Does the film imply that Rose-Ann D’Arcey and Sadie, Rose’s friend, have pursued their illegal profession out of necessity, or preference?
- At what points do characters speak directly, if casually, about sight? Do their comments concretize sight’s necessity, or configure it as disposable?
- How does camera work convey Selina’s disorientation at various points?
- Does Selina always ever remain a spectated object of the audience’s stare, or does the film capture her own, vision-impaired perspective of the world?
- During one particularly moving outdoor scene, Selina daydreams that she can see. Is this feasible?
- On what kind of between-scene transitions do the filmmakers rely most often, and what impact does this have on the narrative? Match cuts, jump cuts, slow dissolves, wipes, iris, etc.?
- Literary Naturalism casts humanity’s struggle to survive as a doomed enterprise; its protagonists often fail to thrive, or just survive, due to fate or overwhelming natural or societal circumstances. Is this film “Naturalist” in this sense? Are its heroes doomed?
- Literary Naturalism sometimes spotlights the hard times of tenement life, dramatizing how easily those living near the poverty line can fall into violent, abusive behavior patterns. Whether one classes this film as Naturalist or not, it definitely shares features of that storytelling mode. Is tenement life in this film consistently soul-draining and tragic?
- How does the film’s musical score shape our attitude towards Selina? How does its pacing, volume, and instrumentation change when the film focuses on specific features of Selina’s disability?
- Does Selina enjoy listening to music?
- What kind of education has Selina’s environment provided her?
- Did the role of Selina require a sighted actor, given the shape and substance of the film’s scenes?
- Selina observes that Gordan has a “tall voice.” Do the film's visuals confirm Selina's observation?
- Why does Selina think herself ugly, and does Gordon effectively counter her self-criticism?
- Does Gordon touch Selina too much or too little when interacting with her?
- Does the progression of teaching moments provided Selina by Gordon seem natural and intuitive?
- Does Gordon teach Selina first about physical realities or social realities? [Kristin M]
- Do all the lessons given Selina by Gordon have real-world practicality? [Gabby M]
- Does Selina ever appear oppressed by Gordon's instruction, or does she remain always eager to learn?
- What attitude does the film implicitly build towards racism by developing the character of its most out-spoken racist?
- Do peripheral, unnamed white characters react to Gordon's friendship with Selina in the same way that Rose-Anne does?
- How does Selina react to the revelation about Gordon's race?
- Does Rose-Anne demonstrate any motherly tendencies towards her daughter?
- Is Selina's effort at revolt successful? [Kline N]
- Of the various factors at play in drawing Gordon towards Selina, which seems the most powerful? Attraction? Pity? Paternalism? Curiosity? Kindness?
- Is the idea of specialized education for the blind treated, in this film, as an ideal or as a deficient option?
- Does this film suggest a positive or negative correlation between socioeconomic class and alcoholism?
- Does the film's ending solidify or complicate attempts to categorize this film as a romance?
A Patch of Blue (1965)
one poster from original film release
Dr. Paul Marchbanks
pmarchba@calpoly.edu
