增加不同身份群体在媒体中的代表性并不是新的需求，但不同群体之间的进展却远非普遍。对于残障人士来说，他们在媒体中的代表性仍然很低，多年来的进展充其量只能算是缓慢。
When CODA won the Academy Award last year for Best Picture, for example, it introduced broad audiences to the power of authentic storytelling about children of deaf parents. But at the same time, it highlighted just how limited equitable representation is in films. That’s because Marlee Matlin, who is one of the stars in the film, also won the award for Best Actress for her role in the 1986 film, Children of a Lesser God—the last time the Oscars celebrated the disability community.
The 35-year gap, bookmarked by films involving the same actress and the same disability theme, highlights how equitable disability inclusion very much remains an off-in-the-distance aspiration. Authenticity is the other key consideration, and not all productions benefit from the involvement of Matlin, who is a longstanding champion of authentic portrayals in TV and film, opening the door for new talents such as Alaqua Cox 和 Lauren Ridloff.
如今，与普通人相比，残疾人有 34% 的可能性认为媒体对其身份群体的报道不够充分，超过半数的人表示，他们看到的描述不准确地代表了他们各自的身份群体。从这个角度来看，美国有 26% 的人口是残疾人。
纳入内容的情况正在增加，但起点较低
随着时间的推移，包容残疾人的内容数量不断增加，尽管起点很低。大约一个世纪前，只有一部以残疾人为主题的视频作品。从那时起，包容残疾的内容不断增加，到 2019 年达到顶峰，共发布了 518 部作品。到今年为止，有 6895 个视频标题具有残疾主题属性，但这只占具有描述符元数据的 163230 个标题的 4.22%。
在现有的视频内容中，剧情片中的残疾代表比例最高，占以残疾为主题的视频内容的近 60%。在包含视频描述符的视频内容中，只有 4% 的描述符注明了残疾和与残疾相关的属性。如果将预告片和体育片排除在外，并将电影类别合并，则电影占残疾人包容性内容的比例略低于 81%，系列片/轻喜剧占比略高于 19%。
Increasing inclusion across media is important, but when it comes to media consumption, Americans spend the most time with live TV—almost twice the time they spend with connected TV. With just under 20% of series/miniseries content inclusive of disability themes, it’s not surprising that nearly 50% of people with disabilities feel their identity group is underrepresented on TV.
重要的是，仅仅出现一个残疾角色是不够的。残障人士希望在节目中看到日常生活的真实写照。值得注意的是，我们最近进行的 "对电视表现的态度 "研究发现，残疾人认为对其身份群体的描述不准确的可能性比普通人高出 52%。
关于包容性和真实代表性的重要性，可以考虑残疾人群体对在包容性节目中出现的广告和以残疾人为主角的广告的看法：当广告出现在包容性内容中并以残疾人群体为主角时，残疾人群体与品牌互动的可能性要高出 17%。
虽然残障人士认为流媒体拥有最具包容性的选择，但有 24% 的人认为不同平台的相关代表性没有区别。此外，也没有哪种类型最能体现残疾人的代表性。
由于视频内容稀少，无法满足社区的需求，因此残疾人越来越倾向于通过社交媒体及其有影响力的人与社区建立更紧密的联系、建立关系、传播意识并过上真实的生活，这一点也就不足为奇了。而参与率则证明，有影响力的人正在填补一个重要的空白。
For example, our recent influencer marketing report found that only 6.15% of influencers on Instagram have an engagement rate of 20% or more. Alyssa Cleland, however, has amassed 140,000 Instagram followers and her posts generate an impressive 67% engagement rate. Terra Jolé tops the follower list, with 918,000.
The other important aspect related to influencer marketing is that Nielsen’s Q1 2022 Brand Impact norms data found that an average of 80% of people who saw an influencer ad was able to recall seeing brands featured in ads. The data also highlights that the ads drive a 9-point increase in both brand affinity and purchase intent.
Much in the world changed between the releases of Children of a Lesser God 和 CODA, but the data pertaining to inclusion and representation across identity groups suggests that true progress in mainstream media remains elusive.
That lack of progress has an impact on media consumption, as our 2021 Attitudes on Representation on TV found that 48% of respondents would be more likely to watch content featuring their respective identity groups. Not only is the audience looking for more representative content; the audience is looking for the industry to re-frame how disability is depicted in that content. With that in mind, movies like CODA need to be more in focus than just once every 35 years if media is to become more inclusive of the disability community.
说明
- 尼尔森电视代表态度研究，2022 年 4 月
- 疾病控制和预防中心
- Gracenote 视频描述符
- Gracenote 视频数据
- 尼尔森影响力范围
