Date of submission
Children of a Lesser God
In our daily lives, we interact with people who have minor or major problems in hearing. Despite their issue, these kinds of individuals are regarded as normal but treated in a special manner which will make them equal and easier to be understood by their fellow human beings. The film Children of a Lesser God is an example of movies which explain the lives of people living with these kinds of difficulties, and how people respect and socialize with them in the society (Davis, 46). Several scenes from the film illustrate how people with hearing impairment disregarded in the community and how these individuals fight to live normally with other people.
In the film, a deaf woman is seen being employed as a janitor, a post which most of the people expected it to be given to a person who has no such complications for easier control of the deaf students. Sarah, the same lady who gets employed as a janitor is termed as a former top student, a situation which no one believed that a student with such complication could end up becoming the best (Spirko, 18). She changes this culture of her people not upholding the rights of people of her condition as she is also seen running away from her own mother when she treats her completely different from other kids and women. Students and the staff are seen amazed by the fact the Sarah falls in love with James and the tow ends up well. Although her workmates do not talk to her, her students seem to be happy about her job thus this makes her happier to work at the school. It is true that people in her environment and community do not regard people with special needs as the same to them, whereby the mentality is totally changed by James who follows her Sarah even after the conflict and reconciles with her.
Davis, Lennard J. “Deafness and the riddle of identity.” The Chronicle 1.12 (2007): 45-67
Spirko, Robert C. “„Better Me than You‟: Children of a Lesser God, Deaf Education, and Paternalism.” Peering Behind the Curtain: Disability, Illness, and the Extraordinary Body in Contemporary Theater (2013): 16-23.