Inside I'm Dancing FuLL *FiLms* HD: Free Video and …
'It'll all end in tears,' mutters Siobhan (Romola Garai) as she accepts a job caring for the disabled heroes of Irish comedy-drama Inside I'm Dancing [Rory O'Shea Was Here]. True enough, director Damien O'Donnell adds a healthy dose of saline sentiment to his engaging tale of disadvantaged Dubliners striking out on their own (Smith, 2004).
Inside I'm Dancing FuLL *FiLms* HD
This essay examines Rory O'Shea Was Here as a male melodrama. Chiefly utilizing theories of narrative prosthesis, problem bodies, and melodrama, a discussion of the disabled male gaze is forwarded. The result is a conclusion that within the film the objectification of Siobhan and the sentimentality of Michael and Rory's lives combine to further damaging gender politics and static representations of disabled characters. Despite the rhetoric of independence and self-sufficiency, Rory O'Shea Was Here employs a narrative of disability that offers an ultimate option of death instead of living with impairment. Rory O'Shea also endorses the view that the only meaningful relationships are authorized via professional routes.
It is my hope that this essay examined the nature of disability representation in Rory O' Shea while maintaining a critical lens aimed at other identities being represented in the film. Even though the film could be seen as challenging traditionally held beliefs about disabled people living alone in the community or maintaining independence, the resolution of the film helps to reinforce more conventional representations of disability that result in death or inspirational life changes. What this film does put forth is that Michael, with the aid of the camera, participates in the continual objectification and potential abuse of Siobhan, while Siobhan's status as an able-bodied woman results in increased power over the disabled men. This examination of how disabled characters can participate in the objectification and subjugation of other characters of marginalized identities based on their gender is important to consider. Disability or the status a disabled person is given within the film can hide how this mutual objectification happens; however, the reality of this power dynamic still occurs even if the potential biases of the audience members deny the agency of the disabled characters in furthering this abuse. Nevertheless, Rory O' Shea maintains that these potentially competing identity categories can participate in reinforcing the marginalization of others.