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The reality of fiction: understanding autism through narrative films

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The reality of fiction: understanding autism through narrative films

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THE
REALITY
OF
FICTION:

UNDERSTANDING
AUTISM
THROUGH
NARRATIVE
FILMS

by

Michael
Huard

A
Thesis
Presented
to
the

FACULTY
OF
THE
USC
GRADUATE
SCHOOL

UNIVERSITY
OF
SOUTHERN
CALIFORNIA

In
Partial
Fulfillment
of
the

Requirements
for
the
Degree

MASTER
OF
ARTS

(SPECIALIZED
JOURNALISM:
THE
ARTS)

May
2014

Copyright
2014

Michael
Huard

2

Acknowledgements

I
would
like
to
thank
my
thesis
chair,
Tim
Page,
for
his
invaluable
insight,
truly

constructive
criticism,
and
constant
work
to
improve
my
writing.
I
would
also
like
to

thank
Sasha
Anawalt
for
her
dedication
to
my
personal
success
in
this
project
and

elsewhere,
and
Howard
Rosenberg
for
keeping
my
writing
grounded
and
taking
a
keen

interest
in
my
work.
Lastly,
I
would
like
to
thank
my
parents
and
siblings
for
their

unwavering
support
that
gives
me
the
confidence
to
follow
my
passions,
wherever
they

may
lead
me.

3

Table
of
Contents

Acknowledgements…………………………………………………………………………………………..………...2

Abstract………………………………………………………………………………………………………….………….4

The
Reality
of
Fiction:
Understanding
Autism
Through
Narrative
Films…………...…..……….5

An
Autistic
Perspective..……………………...……………………………………………………………8

The
Surrounding
Environment…………..…………………………………………………………...15

Limitations
of
Stats
and
Figures……………………………………………………………………...22

The
Will
of
the
Camera…………………………………………………………………………………...26

Redefining
Normal…………………………………………………………………………………………29

References………………………………………………………………………………………………………….……32

4

Abstract

For
years,
the
public
relied
on
documentaries
for
an
accurate
representation
of
autism
in

film
and
television.
These
non-‐fiction
films
were
seen
as
the
most
reliable
sources
of

information
on
the
mysterious
condition.
Yet,
as
the
prevalence
of
autism
spectrum

disorders
continues
to
grow
and
information
surrounding
the
condition
spreads,

narrative
films
have
begun
using
the
flexibility
of
the
medium
to
spread
a
deeper

understanding,
one
that
taps
into
the
autistic
mind
and
teaches
others
how
to
interact

with
an
individual
on
the
autism
spectrum.

In
particular,
Australia’s
Mary
and
Max
and
Belgium’s
Ben
X
have
taken
advantage
of

standard
cinematic
structures
to
delve
into
the
world
surrounding
autism.
From

discussing
symptoms
of
autism
to
the
reality
of
bullying
in
mainstream
school
settings,

these
films
provide
an
all-‐encompassing
viewpoint
to
teach
a
mass
public
about
autism

in
an
entertaining,
timeless
way
that
documentary
filmmaking
has
not
presently

achieved.

5

The
Reality
of
Fiction:

Understanding
Autism
Through
Narrative
Films

Popular
culture
has
a
complex
and
often
dissociative
relationship
with
autism
spectrum

disorders
(ASDs).
Over
the
years,
numerous
fictional
characters
have
displayed
traits

commonly
associated
with
autism,
but
a
full
admission
of
a
character’s
condition
rarely

occurred.
This
semi-‐secretive
treatment
comes
as
a
consequence
of
two
primary
factors.

First,
a
stigma
surrounds
autism
that
inaccurately
categorizes
the
condition
as
a
mental

handicap.
Second,
there
is
a
general
lack
of
understanding
about
autism’s
cause
and
how

specific
symptoms
manifest.

Psychiatrist
Eugen
Bleuler
first
used
the
term
autism
in
the
early
1900s
based
on
the

Greek
word
“autos,”
meaning
“self,”
as
patients
he
determined
to
be
autistic
would

withdraw
themselves
from
the
outside
world
into
their
own,
isolated
world.
In
1943,

Johns
Hopkins
University’s
Leo
Kanner
described
various
children
in
his
care
as
autistic,

using
characteristics
still
associated
with
ASDs
today,
such
as
an
inability
to
relate,

aversions
to
touch,
and
language
deficiencies.
One
year
later,
Hans
Asperger
discussed

similar
symptoms
for
children
with
better
verbal
skills.
However,
Asperger’s
findings

remained
relatively
unknown
until
the
1980’s
when
his
work
was
translated
to
English

(News
Medical
2013;
WebMD
2014;
Autism
Speaks
2013a).

With
the
symptoms
of
autism
gaining
attention,
the
scientific
community
worked

towards
finding
a
cause.
From
the
1940s
to
the
1970s,
medical
experts
pushed
to
find
an

6

emotional,
psychoanalytic
cause
for
autism
(Autism
Speaks
2013a).
Most
notably,
Bruno

Bettelheim
opened
the
discussion
for
a
now-‐discredited
correlation
between
autistic

children
and
frigid
mothers
(PBS
2014).
It
was
not
until
1964
that
Bernard
Rimland,
the

founder
of
the
Autism
Society
of
America
(ASA),
pushed
for
the
classification
of
autism

as
a
biological
malady
(Autism
2014;
Autism
Society
2014).

Despite
Rimland’s
efforts,
confusion
still
surrounded
autism.
The
condition
often
found

itself
misunderstood
as
mental
retardation
or
a
form
of
psychosis.
Two
events
proved

crucial
in
establishing
autism
as
its
own
condition.

In
1980,
the
Diagnostic
Statistic
Manual
helped
clear
the
confusion
by
distinguishing

autism
as
separate
from
childhood
schizophrenia
(Autism
Speaks
2013a).
Later,
in
1990

the
Individuals
with
Disabilities
Education
Act
established
autism
as
one
of
thirteen—
now
fourteen—disabilities
eligible
for
special
education
services
(Autism
Now
2012;

NICHCY
2012).

These
pivotal
distinctions
cemented
autism’s
place
in
society
as
a
condition
worth

extensive
attention.
As
such,
research
devoted
to
autism
grew
in
conjunction
with
its

presence
on
screen
in
film
and
television.
While
films
prior
to
1986
depicted
autism’s

characteristics,
such
as
1962’s
David
and
Lisa
or
1969’s
Change
of
Habit,
few
openly

categorized
primary
characters
as
autistic.
This
changed
drastically
with
1988’s
Rain

Man,
which
won
four
Academy
Awards
including
Best
Picture.

7

The
success
of
Rain
Man
sparked
an
influx
of
films
with
autistic
characters
in
the
early

‘90s,
including
Backstreet
Dreams
with
Brooke
Shields,
Silent
Fall
with
Richard
Dreyfuss,

and
Family
Pictures,
a
television
movie
with
Anjelica
Huston
(Wikipedia
2013).
Thanks

to
the
common
perception
of
autistic
children
as
sources
of
untapped
hyper-‐intelligence,

these
films
often
centered
on
utilizing
the
autistic
child’s
intelligence
as
a
tool.
This
idea

can
be
found
most
prominently
in
Bruce
Willis’
1998
action
crime-‐drama
Mercury

Rising,
where
the
National
Security
Agency
hunts
down
a
young
autistic
boy
“when
he
is

able
to
decipher
a
top
secret
code”
(IMDb
2014).

The
emphasis
on
autism
as
an
intelligence
source
has
made
the
transition
to
television

in
the
new
millennium,
but
with
minimal
open
diagnoses.
Fan
hypotheses
surround

brilliant
characters
like
Dr.
House
(Hugh
Laurie)
from
House
or
Gil
Grissom
(William

Petersen)
from
CSI:
Crime
Scene
Investigation
for
their
eccentricities
similar
to
ASD

traits.
Most
recently,
beloved
characters
like
Sheldon
Cooper
(Jim
Parsons)
from
Big

Bang
Theory
and
Abed
Nadir
(Danny
Pudi)
from
Community
display
autistic

characteristics,
but
producers
have
consistently
denied
any
connection
between
their

shows
and
autism
(Autism
Daily
Newscast
2013).

In
2013,
notable
additions
like
Diane
Kruger’s
Sonya
Cross
on
The
Bridge
and
Hugh

Dancy’s
Will
Graham
on
Hannibal
embraced
their
autistic
traits
as
useful
in
their
work

by
openly
referencing
their
places
on
the
spectrum.
This
growth
in
direct
fictional

representation
signifies
an
acceptance
of
autism
as
an
omnipresent
force
in
society

8

today—approximately
one
in
eighty-‐eight
children
is
identified
with
an
ASD
according

to
the
Center
for
Disease
Control
and
Prevention
(CDC
2014).

Where,
previously,
documentaries
or
scientific
studies
served
as
the
primary
source
of

information
on
autism,
current
narrative
stories
have
the
capability
and
know-‐how
to

accurately
depict
the
autism
spectrum
for
a
much
wider,
more
general
audience.
The

primary
issue
surrounding
the
portrayal
of
autism
in
popular
culture,
though,
remains

the
narrow
focus
on
intellectual
strength
or
developmental
ailments
without
reference

to
the
reality
surrounding
those
with
ASDs.

Documentaries
are
viewed
as
the
most
dependable
sources
for
a
truthful
representation

of
ASDs
due
to
their
reliance
on
facts
and
reality.
However,
certain
narrative
films,
which

capture
autism
in
entertaining
and
informative
manners,
prove
this
belief
to
be
obsolete.

An
Autistic
Perspective

Mary
and
Max,
a
2009
Australian
claymation
film
written
and
directed
by
Adam
Elliot,

follows
an
unorthodox
pen-‐pal
friendship
between
eight-‐year-‐old
Australian
misfit,

Mary,
and
forty-‐four-‐year-‐old,
Max,
a
Jewish
New
Yorker
with
Asperger’s
syndrome,

which
autism
advocacy
organization
Autism
Speaks
(2013)
categorizes
as
an
ASD
on
the

“high
functioning”
end
of
the
spectrum.

The
film,
which
begins
in
1976,
takes
a
style
commonly
associated
with
children’s

films—claymation—and
inserts
a
heartfelt,
mature
story
with
dark
humor.

9

Elliot’s
opening
sequence
depicts
the
forlorn
environment
of
this
fictional
Australia.
He

casts
a
brown
filter
over
the
scenes,
giving
the
film
a
slightly
dirty
look.
Shoes
hang
over

power
lines.
Trashcans
are
thrown
askew.
Youthful
joy
and
enthusiasm
are
only
present

in
the
film’s
theme
song,
Perpetuum
Mobile
by
Penguin
Café
Orchestra
(IMDb
2014c).

The
piano
bounces
amidst
a
flurry
of
string
instruments
that
rise
and
fall,
evoking
the

feeling
of
cautious
optimism
following
a
deep
melancholy.
Immediately,
Elliot
alerts
the

viewer
that
this
is
a
sad
story,
but
there
is
an
intense
beauty
and
love
inherent
to
the

tale.

A
narrator,
voiced
by
Barry
Humphries,
calmly
introduces
Mary’s
depressing
state.
The

young
girl
has
a
squash-‐shaped
head,
oversized,
square
glasses,
and
a
birthmark
she

describes
as
“the
color
of
poo.”
She
has
no
friends;
a
neglectful
father
whose
hobbies

include
Bailey’s
Irish
cream
and
taxidermy;
and
an
alcoholic
mother
who
often
tells
her

daughter
that
sherry
is
“a
type
of
tea
that
needed
constant
testing”
(Mary
and
Max

2009).

Mary
is
presented
as
the
picture
of
innocence.
Her
decrepit
world
should
be
tearing
at

her
soul
bit
by
bit
with
sad
event
after
sad
event,
but
she
soldiers
on
with
blissful

ignorance.
To
prepare
the
audience
for
Max,
the
narrator
describes
young
Mary
by
her

level
of
understanding,
“A
lot
of
things
puzzled
Mary.”

With
the
hope
of
finding
a
friend

and
learning
about
life
outside
her
sheltered
existence,
Mary
writes
to
Max
in
New
York

City.

10

While
the
color
palette
for
Australia
is
brown,
Elliot
drips
the
vast
metropolis
of
New

York
City
in
grey.
The
Statue
of
Liberty
is
shown
with
a
wide,
toothy
grin
in
photos

scattered
throughout
the
city,
but
comes
across
as
glum
and
moody
in
reality.
Whereas

Australia
seemed
to
be
quaint
and
forgotten,
New
York
is
actually
dirty,
suffering
from

years
of
wear
and
tear.
The
façade
of
glamour
seen
in
photos
disappears
when
Elliot

zooms
in
on
the
city
itself.
New
York
City,
in
this
instance,
is
an
unhappy
place.

The
first
scenes
with
Max
show
him
viewing
the
same
television
program
as
Mary,

except
his
reason
for
loving
The
Noblets—a
children’s
show
with
small,
exceedingly

happy
troll-‐like
characters
similar
to
The
Smurfs—differs
significantly
from
hers.
He

loves
that
the
Noblets
“live
in
a
delineated
and
articulated
social
structure
with
constant

adherent
conformity”
(Mary
and
Max
2009).
This
line
proves
to
be
just
one
of
dozens
of

carefully
phrased
quotes
indicative
of
Max’s
autistic
mindset.

His
quirks
are
further
treated
as
normal
occurrences.
He
counts
the
number
of
flies
he

catches
per
evening.
His
favorite
snack
is
chocolate
hot
dogs—a
Hershey
bar
in
a
hot
dog

bun.
Max
even
keeps
a
precise
record
of
the
minutes
since
his
fish’s
death
because
life
is

asymmetrical
without
a
living
fish
in
his
apartment.

Max,
with
ears
seemingly
plugged
in
like
Mr.
Potato
Head
and
an
expanding
waistline,

attends
Overeaters
Anonymous
sessions
where
Marjorie
Butterworth
sends
him

“strange
glances,”
which
many
would
interpret
as
flirtatious.
One
primary
symptom
of

the
autistic
spectrum
is
an
inability
to
communicate
social
gestures.
This
often
appears

11

in
the
form
of
misunderstood
idiomatic
phrases,
sarcasm,
innuendo,
implicit

connotations,
or
other
linguistic
constructions
that
require
extraneous
semantic

deciphering
and
interpretation.
As
the
narrator
reiterates,
“Max
had
trouble

understanding
non-‐verbal
signals…(He)
found
most
people
very
confusing.”

At
this
point
of
the
film,
the
friendship
has
been
started
through
the
first
letters
between

Mary
and
Max
and
the
similar
personalities
of
the
two
players
have
been
detailed.

Since

Mary’s
story
is
told
first
and
she
initiates
contact
with
Max,
Elliot
establishes
her

innocence
and
misunderstanding
of
the
world
as
the
norm.
It
sets
the
stage
of
a
world

seen
through
a
different
perspective
from
the
one
typically
found
on
film—in
this
case

either
a
child’s
eyes
or
those
of
a
man
with
Asperger’s.

The
difficulty
of
this
setup,
which
Elliot
deftly
maneuvers,
is
delineating
between
the

mind
of
a
child
and
the
mind
of
an
adult
with
an
ASD.
The
narrator
presents
the
sets
of

information
in
an
identical
fashion,
making
Max’s
world
seem
just
as
normal
as
Mary’s,

but
the
reasons
for
Max’s
eccentricities
are
explained
with
an
adult
logic.
His
lifestyle

flows
from
a
sophisticated
mind
that
is
not
stuck
in
adolescence,
as
can
be
seen
with
his

justification
for
loving
The
Noblets.
Social
cues
and
mannerisms
are
lost
on
him,
but
his

comprehension
of
adulthood
in
terms
of
accumulated
experiences
is
still
present.
He
is

not
portrayed
as
a
childish
man
with
an
incurable
malady,
but
an
adult
man
with

idiosyncrasies.

12

This
open
perspective
is
validated
by
the
basis
for
the
film.
Elliot
wrote
the
story
based

on
correspondences
between
himself
and
his
longtime
pen
pal
in
New
York,
who
has

Asperger’s
syndrome
(Collider
2009).
The
relationship
developed
between
Elliot
and
his

New
York
friend
allows
Mary
and
Max
to
give
the
impression
it
is
straight
from
the

autistic
mind.

Consequently,
the
depiction
of
Max’s
Asperger’s
only
improves.

As
the
letters
continue,
Mary
begins
asking
questions
that
cannot
be
answered
with

straightforward
facts.
In
particular,
she
wonders
about
bullying,
sex,
love,
marriage,
and

other
social
constructions
that
require
a
deeper
social
understanding.

Upon
reading

these
letters,
Max
is
sent
back
to
traumatic
events
of
his
youth,
sparking
intense
anxiety

attacks.

A
key
misconception
surrounding
autism
is
that
symptoms
are
confined
to
social

inhibitors,
but
physical
difficulties
are
equally
devastating.
Hypersensitivity
to
light
and

sound
is
common
among
those
with
ASDs.
Thus,
anxiety
attacks
manifest
from
loud

noises,
bright
lights,
and
big
crowds
or
appear
when
confusing
events
and
traumatic

memories
arise.

Elliot
employs
typical
autistic
mannerisms
to
depict
Max’s
anxiety.
Close-‐up
shots
of
a

sweaty
brow
and
nervous
eyes
are
juxtaposed
with
Max
standing
on
a
stool
in
the

13

corner
of
the
room,
hands
firmly
clasped
over
his
ears.
The
excess
of
stimuli
creates

confusion,
fear,
and
extreme
nervousness
that
can
only
be
controlled
by
Max
himself.

He
explains
the
phenomenon
to
Mary,
“New
York
is
a
very
busy
and
noisy
place…I
don’t

like
crowds,
bright
lights,
sudden
noises,
or
strong
smells.
New
York
has
all
these.”
In

order
to
regulate
the
overflow
of
stimuli,
Max
walks
around
the
city
with
nose
and

earplugs.
The
scene
is
meant
to
be
humorous,
but
actually
references
a
struggle
affecting

many
autistic
individuals
on
a
daily
basis.

In
later
correspondences,
Max’s
understanding
of
the
social
framework
begins
to

appear.
For
instance,
when
asked
about
romance,
the
narrator
explains,
“love
is
as

foreign
to
(Max)
as
scuba
diving.”
He
wishes
for
“a
mathematical
equation
for
love”—a

reference
to
the
mathematical
proclivities
of
autistic
individuals.

At
one
point,
Max
informs
Mary
that
he
has
never
used
a
condom.

Typically,
a
middle-‐aged
man
would
never
tell
a
child
if
he
has
or
has
not
used
a
condom,

but
Max
fails
to
see
a
problem
with
stating
a
fact.
He
continues,
“People
often
think
I
am

tactless
and
rude…How
can
honesty
be
improper?”
Further,
Max
explains
that
he
does

not
like
lies.
In
his
world
and
that
of
many
on
the
autistic
spectrum,
life
should
be
as

logical
as
possible
without
implicit
connotations
confusing
the
message.

14

Due
to
the
film’s
time
period,
Elliot
includes
scenes
depicting
the
minimal
medical

understanding
of
autism
present
in
the
late
1970s
and
early
‘80s.
In
comparison
to
other

sciences
like
biology
and
chemistry,
diagnostic
psychology
is
relatively
young.
As
a

result,
mental
disorders
have
only
recently
been
considered
inborn
maladies.

After
an
extreme
anxiety
attack,
Max
is
sent
to
a
mental
institution
to
get
treatment.
He

receives
a
cocktail
of
mind-‐numbing
drugs
and
“therapeutic
procedures,”
which
take
the

form
of
electro-‐therapy
(Mary
and
Max
2009).
Eight
months
later,
Max
returns
home

catatonic
from
the
treatments
and
labeled
mentally
deficient
while
he
waits
for
his
life
to

regain
symmetry.

He
is
diagnosed
with
a
“new
thing”
called
Asperger’s
syndrome,
which
is
described
as
“a

neurobiological,
pervasive,
developmental
disability”
(Mary
and
Max
2009).
In
a
letter
to

Mary,
Max
continues
by
explaining
the
most
common
traits
of
Asperger’s.
These
include

trouble
with
people’s
expressions,
bad
handwriting,
hypersensitivity,
heightened

problem
solving
skills,
and
trouble
communicating
emotions—all
of
which
have
been

given
screen-‐time
prior
to
this
moment
in
the
film.

Mary
and
Max
ultimately
sends
the
message
of
understanding
autism
as
another

perspective
that
does
not
make
someone
less
human.

Since
Max’s
condition
remains
mildly
ambiguous
for
two-‐thirds
of
the
film,
his
lifestyle

normalizes
and
his
eccentricities
adapt
a
new
meaning.
Documentaries
on
autism
can

15

inundate
the
audience
with
statistics
and
facts
about
symptoms
and
treatments
to
the

point
of
saturation.
Elliot
avoids
this
by
cleverly
inserting
the
traits
of
Asperger’s
into

the
film’s
story
from
the
“Aspie’s”
point
of
view.
Rather
than
have
a
confused
mother

explain
her
child’s
condition,
a
man
with
the
condition
describes
his
viewpoint.

By
the
film’s
close,
the
adult
Mary
devotes
her
career
to
studying
mental
disorders,

showing
that
understanding
a
condition
like
Asperger’s
syndrome
does
not
have
to
start

in
a
lab
or
classroom.

Taking
the
time
to
comprehend
the
autistic
viewpoint
is
only
a
piece
of
the
puzzle,
as

most
neurotypical
children—those
without
ASDs—are
not
in
dire
need
of
friendship
like

Mary
and,
as
such,
are
not
as
receptive
to
peculiarities
like
Max’s.
Often,
due
to
a
lack
of

familiarity
with
the
condition
and
the
desire
to
avoid
special
education
programs,

autistic
children
are
forced
to
attend
mainstream
schools.
The
heightened
pressure
of
a

school’s
social
structure
combined
with
an
autistic
child’s
inability
to
communicate

results
in
a
perfect
storm
for
teasing,
isolation,
and
bullying.

The
Surrounding
Environment

While
Mary
and
Max
focuses
more
closely
on
understanding
the
autistic
spectrum,

director
Nic
Balthazar’s
intense
portrayal
of
bullying,
Ben
X,
chronicles
the
constant

battles
facing
those
with
ASDs
as
they
work
to
interact
with
neurotypical
peers
in
a

mainstream
school
setting.

16

After
reading
about
a
seventeen-‐year-‐old
Belgian
boy
with
Asperger’s
that
relented
to

severe
bullying
and
committed
suicide,
Balthazar
had
been
asked
to
use
his
role
as
a

popular
host,
presenter,
and
film
critic
to
write
a
book
that
would
have
teenage
appeal.

The
2004
book,
Nothing
Was
All
He
Said,
was
such
a
success
that
it
stemmed
a
play
and,

eventually,
was
adapted
to
the
screen
in
2007
as
Ben
X
(Los
Angeles
Times
2008).

Ben,
portrayed
brilliantly
by
newcomer
Greg
Timmermans,
is
a
bright
teenage
boy
with

autism
who
faces
torturous
ridicule
every
day
due
to
his
classmates’
unwillingness
to

understand
his
social
oddities
or
their
source.
He
finds
solace
in
an
online
game

comparable
to
World
of
Warcraft
and
an
empathetic
fellow
player,
Scarlite,
played
by

Laura
Verlinden
(IMDb
2014b).

Similar
to
Mary
and
Max,
the
film
introduces
autistic
symptoms
from
the
source’s

perspective.
Ben
opens
the
film
saying,
“It’s
hard
to
explain
myself…”
before
initiating

his
morning
rituals.
He
keeps
exact
time
of
his
gameplay,
teaches
himself
to
laugh
and

smile
in
the
mirror,
and
attaches
his
heart-‐rate
monitor
to
his
wrist
to
keep
track
of

anxiety
attacks.

Breakfast
in
Ben’s
home
includes
his
exhausted,
perpetually
worried
mother
trying
to

communicate
with
him,
his
younger
brother
looking
on
in
confusion,
and
Ben
swiftly

departing
into
the
noise
and
chaos
of
his
daily
life.
Ben
regulates
his
hypersensitivity
by

inserting
headphones
and
listening
to
music,
a
normally
innocuous
teenage
ritual
that

serves
a
multitude
of
purposes
for
Ben.
His
constant
narration
repeats
hypnotically,

17

“Don’t
get
worked
up.”
For
Ben,
Max,
and
others
like
them,
normal
life
requires
a

strategy,
a
plan.

Interspersed
throughout
Ben’s
actions,
Balthazar
plays
interviews
with
Ben’s
mother,

father,
school
administrators,
and
classmates
all
recalling
an
ominous
event.
The
first

instance
of
this
involves
his
mother
stating
that
nothing
changes
until
someone
dies.
For

change
to
occur,
a
death
must
occur
(Ben
X
2007).
This
adds
weight
to
Ben’s
story,
as
the

audience
is
made
aware
that
his
psychological
well-‐being
is
irreversibly
fragile.

In
addition
to
current
depictions
of
Ben’s
life,
flashbacks
show
that
little
has
changed
for

him
as
he
matured
with
his
neurotypical
peers.
Scenes
of
a
confused
boy
clutching
his

ears
in
the
middle
of
a
frantic
game
present
Ben
forced
into
interacting
with
the
other

children,
who
treat
him
as
an
outcast.

These
types
of
scenes
are
common
amongst
autism
documentaries
to
show
the
child’s

reaction
to
loud
noises,
except
the
presence
of
the
camera
at
a
school
typically
dispels

any
potential
bullying.
In
the
case
of
Ben
X,
these
scenes
emphasize
the
idea
that
autistic

children
at
any
age
will
encounter
bullies
and
indifference
from
school
administrators

who
misunderstand
the
situation.

After
analyzing
people
at
the
bus
stop
for
tips
on
normal
behavior,
Ben
finally
arrives
at

school
where
he
tries
to
become
invisible,
or
at
least
not
attract
too
much
attention.

Instead,
two
cruel
bullies
find
him
every
step
of
the
way.

18

In
perhaps
the
most
harrowing
scene
of
the
film,
the
bullies
trap
Ben
after
class
for

ritualistic
degradation.
The
oblivious
teacher
leaves
and
Ben
is
stuck
with
his

classmates.
The
bullies
force
Ben
onto
the
front
desk
as
a
crowd
gathers
and
hurls

insults
towards
him.

Some
look
on
in
horror
but
relent
to
the
mob
mentality
and
refuse
to
speak
up,
as
is

often
the
case
in
high
school.
Flimsy
support
comes
in
the
form
of
one
classmate
filming

the
throng
of
attackers
rather
than
openly
reprimanding
them.

Phones
appear
to
film
the
incident
as
Ben
cowers
on
the
desk,
trying
to
jump
down
only

to
have
two
classmates
restrain
his
arms.
The
bullies
continue
to
rip
Ben’s
pants
down

while
the
crowd
erupts
in
guffaws
and
hoots,
making
a
spectacle
of
their
half-‐naked

classmate.
Humiliation
complete
and
the
crowd
dispersed,
Ben
tries
to
regain
his

composure
before
cracking
and
throwing
a
chair
through
a
window.

In
a
report
by
the
Los
Angeles
Times
(2008),
Balthazar
responds
to
a
claim
that
the

depictions
of
bullying
in
Ben
X
exceed
reality,
“If
I
made
a
film
about
the
things
I
have

heard,
if
I
had
even
gone
closer
to
the
reality,
this
would
have
been
near
unwatchable.”
A

study
published
in
Archives
of
Pediatrics
and
Adolescent
Medicine
in
2012
found
that

nearly
half
of
adolescents
on
the
autistic
spectrum—46
percent—are
bullying
victims

compared
to
roughly
10
percent
for
teens
without
ASDs
(Huffington
Post
2012;
JAMA

Network
2012).

19

Balthazar
limits
these
horrifying
portrayals
of
bullying
to
a
minimum,
with
only
one

other
significant
event
occurring.
In
this
second
moment
of
extreme
torment,
the
two

primary
offenders
corner
Ben
at
a
park,
smack
him
across
the
head
multiple
times,
and

force-‐feed
him
a
psychotropic
pill
that
momentarily
alters
his
state
of
mind.

Due
to
the
prevalence
of
bullying
in
the
autistic
community,
a
harsh
perspective
and

resolute
emphasis
on
the
issue
is
especially
beneficial
when
showing
the
rest
of
the

world
how
severe
the
problem
is.
Balthazar
told
IGN
in
2008,
“In
a
lot
of
teen
(movies),

bullying
is
just
one
of
the
side
things
in
it
and
it
always
passes
quite
quickly.
It’s
never

the
main
theme
because
it’s
so
damned
confrontational.
It’s
a
taboo
that’s
deep
in
all
our

pasts
and
personalities,
because
everyone
has
either
been
the
victim,
the
perpetrator
or

the
witness…”

Ben
X
stands
apart
from
other
depictions
of
autism
and
bullying
by
expanding
the
scope

of
the
events
to
include
reactions
from
the
people
around
the
victim.

The
school
administration
finds
itself
unexpectedly
at
the
forefront
in
the
interviews,
as

the
principal
and
Ben’s
various
teachers
discuss
how
they
deal
with
outcasts.
These

teachers
admit
that
every
year
at
least
a
few
children
are
isolated,
but
in
many
cases

extra
help
from
the
school
staff
will
only
exacerbate
the
problem.
For
Ben,
the
teachers

recognize
his
intellectual
brilliance,
but
there
is
something
they
admittedly
do
not
fully

comprehend
about
his
mind
and
how
he
interacts
with
others.

20

Even
the
other
kids
recognize
this.

When
called
into
the
principal’s
office
for
the
desk

incident,
Ben’s
tormentors
justify
their
actions,
“We
teased
him.
We
didn’t
bully

him…We
try
to
treat
him
normally
but
normality
doesn’t
come
easy
for
him.”
Teenagers

are
cognizant
of
problems
affecting
their
peers,
but
as
these
two
show,
they
often
choose

social
dominance
over
helping
those
in
need.

Ben’s
mother
is
most
aware
of
her
son’s
difficulties.
Throughout
the
film,
she
grows

more
desperate
to
reach
her
son.
Her
attempts
to
enter
his
mind
are
futile
at
best
and

she
struggles
to
accept
the
truth
that
she
cannot
protect
him
outside
her
own
home.

During
the
documentary-‐style
interview
she
cries,
“The
others
are
the
problem.
The

others.
They
have
to
learn
to
leave
my
kid
alone.”

To
make
matters
worse,
her
separation
from
Ben’s
father
means
she
has
to
care
for
her

children
primarily
on
her
own.

While
Ben’s
mother
searches
for
answers,
Ben’s
father,
who
lives
with
his
new
partner,

treats
his
son
as
normal,
pushing
to
avoid
stigmatization
by
having
Ben
attend
a

mainstream
school.
Ben’s
separated
parents
mirror
numerous
couples
present
in

documentaries
featuring
autism.
Confusion.
Fear.
Exhaustion.
Resignation.
The
mystery

surrounding
autism’s
cause
and
how
to
contain
it
appear
as
universal
obstacles
among

parents.

21

The
film
shifts
into
the
third
act
as
Ben
sets
in
motion
a
plan
to
inform
the
masses
of
his

struggles.
With
the
help
of
his
mother,
father,
and
his
father’s
partner,
Ben
films
his
own

suicide.
The
tape
makes
the
news,
recalling
the
mother’s
initial
quote
that
change
only

occurs
when
someone
dies.
The
issue
of
bullying
becomes
a
national
debate
as
a
result

of
Ben’s
efforts.
In
the
penultimate
sequence,
Ben
reveals
that
he
faked
his
death
in

order
to
prove
his
point
and
begins
to
embrace
life
as
his
friend
Scarlite
had
suggested.

Ben
X
may
come
to
a
close
on
a
high,
optimistic
note,
but
the
realistic
depiction
of

bullying
in
the
preceding
scenes
leaves
an
indelible
mark
on
the
viewer’s
understanding

of
what
occurs
when
autistic
individuals
are
forced
into
mainstream
schools
without

proper
treatment.

Traditional
autistic
symptoms
are
still
present
and
explained
in
Ben
X.
In
addition
to
the

headphones
and
his
inability
to
communicate
socially,
Ben
cringes
when
touched
and

suffers
from
anxiety
attacks
that
leave
him
debilitated
until
he
can
self-‐stimulate.

However,
Ben
X
succeeds
where
so
many
other
films,
including
documentaries,
fail.

Balthazar’s
story
provides
an
extensive
look
into
the
life
and
surrounding
environment

of
an
autistic
individual.
Ben’s
family,
his
classmates,
and
professionals—both
medical

and
academic—represent
the
general
lack
of
understanding
surrounding
the
condition.

22

In
documentaries,
most,
if
not
all,
of
the
people
involved
have
experience
with
the

autistic
spectrum,
but
in
Ben
X
the
audience
receives
an
invaluable
insight
into
the

autistic
condition
and
the
viewpoint
of
those
unfamiliar
with
the
spectrum.

Limitations
of
Stats
and
Figures

Documentaries
are
nonfiction
films
detailing
the
life
of
their
subjects
through
real

images,
interviews,
videos,
and
other
authentic
means
of
conveying
the
message.

Whether
the
film
discusses
wildlife
or
mental
disorders,
the
expectation
of
truth
is

fundamental
to
the
viewing
experience.

With
regard
to
the
case
of
autism,
a
condition
heaped
in
mystery
and
confusion,
the

documentarian
is
tasked
with
the
difficult
choice
of
focus
for
his
or
her
film:
to
learn

about
the
condition,
spread
awareness
of
its
prevalence,
shed
light
on
current

treatments,
or
spark
a
call
for
further
research
to
be
conducted,
to
name
a
few.
There
is

potential
for
a
combination,
but
if
too
many
conversations
are
broached
at
once,
the
film

loses
its
ability
to
send
a
coherent,
relevant
message.

For
A
Mother’s
Courage:
Talking
Back
to
Autism
and
Autism:
The
Musical,
two
of
the
most

highly
celebrated
documentaries
concentrating
on
the
autistic
spectrum
(Autism
Speaks

2013b),
the
portrayal
of
the
subject
matter
suffers
from
lofty
expectations
set
by
the

respective
filmmakers
and
falls
short
of
promoting
the
same
societal
understanding

found
in
Mary
and
Max
and
Ben
X.

23

A
Mother’s
Courage
centers
on
Margrét
Ericsdóttir,
an
Icelandic
mother
with
a
non-‐
verbal,
autistic
son
named
Keli—pronounced
‘kay-‐lee.’

Margrét
briefly
outlines
the

scope
of
her
project
by
detailing
the
lack
of
variety
in
Iceland’s
autism
treatment
options

and
providing
her
plans
to
travel
across
the
U.S.
in
an
effort
to
find
the
most
appropriate

treatment
for
her
son.
As
an
added
benefit,
she
hopes
the
film
can
serve
as
a
guide
for

other
families
in
a
similar
situation.

The
film,
directed
by
Fridrik
Thor
Fridriksson
and
narrated
by
Kate
Winslet
(IMDb

2014),
opens
with
a
number
of
statistics
and
symptoms
associated
with
autism.
While

the
symptoms
mirror
those
found
in
the
narrative
films—social
impairment,

communicative
difficulty,
repetitive
behavior,
and
narrow
interests—the
statistics
prove

to
be
problematic
due
to
the
variance
possible
when
acquiring
data
and
the
potential
for

statistical
shifts
as
time
passes,
especially
with
regards
to
medical
conditions.

According
to
the
2009
film,
one
in
150
children
is
diagnosed
with
autism
each
year.
The

film
also
states
four
boys
are
diagnosed
for
every
girl.
However,
statistics
released
by

the
CDC
for
a
study
conducted
in
2008
tell
a
more
harrowing
story—one
in
eighty-‐eight

children
is
diagnosed
with
an
ASD
and
boys
are
five
times
more
likely
to
be
diagnosed.

As
narrative
films
like
Ben
X,
Mary
and
Max,
and
Rain
Man
survive
the
test
of
time
due
to

their
focus
on
enlightening
stories,
documentaries
like
A
Mother’s
Courage
and
Autism:

The
Musical,
which
provided
similar
statistics
in
its
opening
sequences,
lose
relevance
as

new
studies
and
statistics
are
released
and
therapies
improve.

24

These
narrative
films
avoid
statistics
and
focus
on
understanding
autism
and
Asperger’s

at
a
base
level
and
bullying,
respectively.
A
documentary’s
reliance
on
statistics
to

quantify
the
importance
of
the
story
blurs
the
film’s
focus
and
opens
the
opportunity
to

refute
such
stats
as
inaccurate
or
outdated.

The
purpose
for
Margrét’s
journey
is
apparent
through
scenes
of
Keli
struggling
to

interact
with
children
his
age
or
failing
to
form
coherent
words
and
phrases.
Yet,
once

Margrét
leaves
Iceland,
the
focus
of
the
film
rotates
consistently
between
Keli,

alternative
treatment
methods,
ongoing
research,
and
extraneous
stories
from
various

families
across
America.

Ericsdóttir
discusses
applied
behavioral
analysis,
special
schools
teaching
non-‐verbal

autistic
children
basic
movements
like
eating,
and
the
importance
of
a
diagnosis,
which

opens
doors
for
available
therapies.
The
audience
sees
specialists
discuss
the
mysterious

cause
of
autism
or
hypothesize
about
biological
patterns.
At
one
point,
a
mother
in

California
recalls
watching
a
television
show
and
recognizing
her
son’s
symptoms,
which

led
to
the
crucial
diagnosis.

All
of
this
occurs
within
the
first
half
hour
of
the
film,
overwhelming
the
audience
with

stats,
figures,
stories,
symptoms,
and
exhausted
parents
coming
to
terms
with
their

child’s
condition.
Herein
lies
the
most
fatal
flaw
of
A
Mother’s
Courage.
Since
a
cause
for

autism
has
not
been
found
and
most
treatments
are
designed
to
manage
the
condition,

25

most
of
the
information
provided
could
become
obsolete
as
medical
technology

advances.

In
the
future,
looking
back
upon
this
information
could
provide
a
crucial
insight
into

where
treatment
failed
and
where
it
succeeded,
but
the
presentation
of
these
different

treatments
currently
accomplishes
very
little
in
terms
of
explaining
autism.
Narrative

films
have
the
flexibility
and
determination
to
immerse
the
viewer
in
the
world
of

autism
from
the
perspective
of
someone
with
an
ASD,
which
can
include
a
depiction
of

treatment
options.

To
maintain
the
integrity
of
documentary
filmmaking,
nonfiction
films,
such
as
A

Mother’s
Courage,
take
a
distant,
outsider’s
approach
on
how
to
contain
the
condition.
As

a
result,
the
remainder
of
the
film
attempts
to
display
positive
treatments,
such
as
Soma

Mukhopadhyay’s
teaching
method
that
has
helped
non-‐verbal
children
communicate.

Soma’s
methods
provide
optimistic
results,
especially
when
considering
her
own
son

has
become
a
prominent
author
and
poet
after
once
being
completely
non-‐verbal.

Eventually,
the
film
focuses
solely
on
Keli’s
first
few
sessions
with
Soma
while
tossing

the
other
storylines
by
the
wayside.

However,
even
during
these
moments,
the
film
distances
itself
from
Keli
and
his

progress
to
show
the
effect
his
condition
has
on
his
parents.
Since
the
children
involved

in
these
documentaries
are
primarily
struggling
with
the
verbal
aspects
of
autism,
the

26

majority
of
the
interviews
come
from
the
parents
who
constantly
fight
the

understandable
urge
to
quit.

Raising
a
child
who
refuses
to
be
touched,
make
eye
contact,
or
respond
to
his
or
her

name
would
erode
any
parent’s
confidence.
Therefore,
documentaries
strive
to
instill

optimism
in
parents
first;
the
child’s
confidence
comes
second.
A
well-‐articulated

narrative
film
can
achieve
both
of
these
goals
by
giving
the
non-‐verbal
child
a
voice,
thus

providing
the
child’s
thoughts
and
helping
a
parent
better
understand
their
own
child.

The
Will
of
the
Camera

In
2007’s
Emmy-‐winning
documentary,
Autism:
The
Musical,
director
Tricia
Regan
and

her
crew
followed
five
children
for
six
months
in
preparation
for
The
Miracle
Project,
a

musical
written
and
performed
by
autistic
children
(IMDb
2014a).

After
adopting
a
non-‐verbal,
autistic
child
from
Russia,
Elaine
Hall
dedicated
her
life
to

finding
a
way
to
help
her
son
and
other
children
like
him.
She
procured
funds
for
The

Miracle
Project
and
recruited
numerous
helpers
to
provide
as
much
individual
attention

for
the
children
as
possible.
With
this
in
mind,
Regan
frames
the
film
with
the
intent
of

showcasing
the
therapeutic
effect
of
The
Miracle
Project
in
helping
the
children
improve

their
social
and
verbal
skills.

Still,
Autism:
The
Musical
takes
a
similar
approach
to
A
Mother’s
Courage
by
emphasizing

the
story
of
the
parents.
The
children
that
provide
the
crux
of
the
film’s
story
are
mostly

27

verbal,
with
some
even
having
excellent
communicative
abilities.
Yet,
Regan
and
her

crew
still
include
interview
after
interview
with
the
parents
detailing
their
backgrounds

and
life
stories.
The
audience
learns
of
parent
histories
and
how
they
reacted
when

discovering
their
child’s
autism.

Those
who
had
marital
problems
received
more
attention
than
others.
A
longstanding

rumor
declares
that
parents
of
autistic
children
divorce
at
a
rate
of
80
percent.
However,

data
released
in
2010
from
researchers
at
the
Kennedy
Krieger
Institute
in
Baltimore,

Maryland,
found
that
the
percentage
of
autistic
children
with
married
parents
is
almost

identical
to
that
of
children
without
ASDs,
64
percent
versus
65
percent
(CNN
2010).

Since
the
believed
80
percent
statistic
is
such
a
daunting
number,
the
filmmakers
thrust

the
struggling
marriages
into
the
focus
of
the
film.
While
one
marriage
dissolves
during

the
filming,
one
survives
at
the
insistence
of
their
autistic
child.
Due
to
the
attention
on

parental
circumstances,
Autism:
The
Musical
strays
from
its
initial
goals:
the
musical
and

documenting
as
these
children
build
social
skills.

Instead,
the
film
makes
the
story
into
a
tale
of
triumph
rather
than
a
depiction
of
the

truth.
The
film’s
opening
line
from
Elaine
flows
like
any
other
underdog
story,
“I
have
no

idea
if
they’re
going
to
be
able
to
pull
it
off.”
This
semi-‐realistic
style
of
interview

continues
throughout.

28

Many
of
the
parents
alter
their
personality
in
front
of
the
camera
to
elicit
pity
or
ensure

a
more
positive
depiction
of
their
life.
Elaine
articulates
her
thoughts
carefully
with

heightened
enthusiasm
similar
to
a
spokesperson.
Another
mother
calmly
recalls
her

fury
upon
discovering
her
husband’s
affair
after
the
birth
of
their
autistic
son.
She
even

chuckles
slightly
when
remembering
how
everyone
knew
except
for
her.
These

moments
continually
tear
at
the
film’s
credibility
by
shedding
the
veil
of
authenticity.

Autism:
The
Musical
succeeds,
nevertheless,
in
covering
the
variance
possible
along
the

spectrum.
From
Neal,
a
completely
non-‐verbal
child,
to
Wyatt,
who
is
exceptionally

bright
and
communicative,
the
children
display
different
autistic
traits.
For
the
children

that
are
able
to
communicate
in
an
articulate
manner,
Regan
does
include
occasional

interviews
that
give
them
a
chance
to
voice
their
thoughts—in
particular,
Wyatt

provides
a
discussion
of
bullying
from
his
perspective
as
a
child
with
an
ASD—but
these

are
used
infrequently.

As
the
film
progresses
and
the
show
approaches,
the
tangential
storylines
come
together

to
support
the
children.
The
final
sequence
shows
highlights
of
the
musical,
juxtaposing

smiling
children,
nervous
children,
and
emotional
parents.
Despite
Regan’s
editing

choices
and
the
efforts
of
Elaine
and
her
assistants,
the
goal
of
improving
the
children’s

social
skills
through
the
project
is
not
readily
apparent.

Many
of
the
children
actually
show
greater
improvement
from
their
respective
therapies

than
the
show
itself.
While
these
improvements
are
victories
in
their
own
rights,
Regan

29

and
her
team
start
the
film
emphasizing
the
effect
of
the
show
as
constructive
for
the

children,
but
in
actuality
proper
treatments
prove
to
be
more
beneficial.
Regardless,
as
a

documentary,
the
film
should
not
implement
such
an
emotional
spin
in
the
hopes
of

promoting
or
helping
the
project.

Redefining
Normal

The
constant
thread
among
the
documentaries
is
an
unclear
concentration.
Rather
than

emphasizing
how
autism
affects
the
individual
or
even
what
research
is
being

conducted,
the
presented
documentaries
offer
a
guide
for
parents
in
handling
their

child’s
condition.

This
is
not
to
say
parents
of
autistic
children
cannot
benefit
greatly
from
documentaries

like
those
here.
Treatment
and
proper
therapy
have
a
profound
effect
on
these
children

and
can
be
crucial
to
their
survival
upon
reaching
adulthood,
but
narrative
films
have

the
freedom
to
integrate
the
perspective
of
an
autistic
individual
more
extensively.

Internal
monologues,
narration,
or
carefully
placed
dialogue
can
provide
the
essential

view
into
the
mind
of
an
autistic
individual
while
simultaneously
teaching
others
how
to

understand
and
interact
with
those
on
the
autistic
spectrum.

Throughout
A
Mother’s
Courage
and
Autism:
The
Musical
the
autistic
mind
rarely
finds
a

voice.
Rattling
off
statistics
and
listing
the
various
symptoms
or
available
treatments

fails
to
adequately
represent
what
the
condition
means
to
those
with
autism
and
those

30

around
it.
A
documentary
takes
a
real
story
and
presents
it
in
a
way
that
overwhelms
the

audience
rather
than
capturing
the
collective
attention
of
those
in
attendance.

Ben
X,
while
harrowing
in
its
style,
illustrates
the
entire
system
in
an
entertaining
and

intriguing
way.
Once
the
framework
of
autism
is
set,
the
film
moves
into
the
hostile

environment
surrounding
those
with
the
condition
before
finally
showing
the
remaining

world
its
own
nasty
reflection.
Balthazar’s
choice
of
a
true
event
only
adds
significance

to
the
story.

For
Mary
and
Max,
a
similar
point
holds
true.
A
man
with
Asperger’s
gets
center
stage

alongside
a
neurotypical
child.
The
audience
receives
the
same
information—symptoms

and
traits—as
a
documentary,
but
in
a
quirky,
charming
way.
By
including
an
isolated

child,
Elliot
humanizes
the
autistic
spectrum.
The
social
impairment
is
no
longer
viewed

as
abnormal,
but
as
a
different
lifestyle.
Consequently,
Mary
accepts
Max
for
who
he
is

and
devotes
her
life
to
better
understanding
him.

Narrative
films
are
capable
of
providing
information
on
a
much
grander
scale,
while
a

documentary
on
a
developmental
condition
such
as
autism
appeals
to
a
smaller,
niche

audience.
With
the
rise
of
online
viewing
options
like
Netflix
and
Hulu,
audiences
across

the
world
have
the
capability
to
discover
little-‐known
works
like
Mary
and
Max
and
Ben

X.
Additionally,
like
the
push
against
cyber
bullying
that
has
sparked
various
campaigns,

if
more
popular
culture
acknowledges
the
growth
of
autism,
more
adults
can
push
for

research
to
find
a
cause.

31

Perhaps
most
importantly,
accurate
representations
in
the
entertainment
industry

provide
invaluable
confidence
for
those
with
autism
spectrum
disorders.

In
the
same
2008
IGN
interview,
Balthazar
describes
an
unforgettable
encounter
with
a

fourteen-‐year-‐old
boy
with
Asperger’s
who
said
to
the
director,
“I
go
to
a
normal
school

(like
Ben
does
in
the
movie)…but
I’ve
never
told
anyone
that
I
have
Asperger’s

syndrome…I
know
that
they’re
going
to
watch
this
movie
at
school…and
now
I
can
say

‘Hey,
I’m
like
this
guy
in
Ben
X’.
Then
(a)
they
will
know
what
my
problems
are
and
(b)

they
might
be
more
inclined
to
help
me
with
them.”

Working
your
way
through
adolescence
is
hard
enough
as
it
is,
let
alone
if
no
one

understands
you.
Narrative
films,
as
shown
by
Mary
and
Max
and
Ben
X,
have
the
ability

to
reach,
not
only
a
wider
audience,
but
a
larger,
more
diverse
demographic
of
people

that
can
learn
about
a
condition
possibly
affecting
a
friend,
loved
one,
or
isolated

classmate
or
colleague.
If
something
like
a
well-‐crafted
film
can
give
a
growing
number

of
viewers
with
ASDs
the
confidence
and
verbiage
to
express
themselves,
it
can
certainly

teach
the
rest
of
the
world
that
maybe
there
is
not
such
a
narrow
definition
to
what
can

be
categorized
as
a
“normal”
mind.

32

References

A
Mother’s
Courage:
Talking
Back
to
Autism.
Directed
by
Fridrik
Thor
Fridriksson.
USA:

Frontier
Filmworks
in
association
with
Klikk
Production,
2009.
DVD

Autism.
2014.
“Tributes
to
our
Founder:
Dr.
Bernard
Rimland,
PH.D.”

http://www.autism.com/index.php/about_rimland
(accessed
February
4,
2014)

Autism
Daily
Newscast.
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“The
Big
Bang
Controversy:
Is
Sheldon
Autistic?”
Last

updated
July
4,
2013.
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2014)

Autism
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October
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2012.
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act/
(accessed
February
4,
2014)

Autism
Society.
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“About
the
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http://www.autism-‐society.org/about-‐us/
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February
4,
2014)

Autism
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—.
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at
70
–
from
Kanner
to
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Last
updated
September
19,
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http://www.autismspeaks.org/science/science-‐news/autism-‐70-‐%E2%80%93-‐kanner-‐
dsm-‐5
(accessed
February
4,
2014)

—.
2013b.
“Films
and
Documentaries
About
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http://www.autismspeaks.org/family-‐services/resource-‐library/films-‐and-‐
documentaries
(accessed
December
23,
2013)

Autism:
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Musical.
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by
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In

Effect
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Ben
X.
Directed
by
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MMG
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Abstract (if available)

Abstract For years, the public relied on documentaries for an accurate representation of autism in film and television. These non‐fiction films were seen as the most reliable sources of information on the mysterious condition. Yet, as the prevalence of autism spectrum disorders continues to grow and information surrounding the condition spreads, narrative films have begun using the flexibility of the medium to spread a deeper understanding, one that taps into the autistic mind and teaches others how to interact with an individual on the autism spectrum. ❧ In particular, Australia’s Mary and Max and Belgium’s Ben X have taken advantage of standard cinematic structures to delve into the world surrounding autism. From discussing symptoms of autism to the reality of bullying in mainstream school settings, these films provide an all‐encompassing viewpoint to teach a mass public about autism in an entertaining, timeless way that documentary filmmaking has not presently achieved.

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