The warped mirror: the reflection of the ableist stare in David Lynch’s The Elephant Man

Abstract

David Lynch’s The Elephant Man tells the story of Joseph Merrick – called John Merrick in the film – a man who lived in Victorian England and who was exhibited in ‘freak’ shows under the moniker ‘The Elephant Man.’ One of Lynch’s central concerns in the film is visuality – how Merrick’s disabled body is seen and looked at, both by the characters in the film and by the film’s audience. Ultimately, at both the narrative level and the cinematic level, Lynch exposes the insidious power of forms of looking at the disabled body that collude with and reinforce ableist social hegemony. Using Lacanian and Foucauldian theory and building on the work of Rosemarie Garland-Thomson and Todd McGowan, this article examines exactly how Lynch is able to achieve this anti-ableist work.