Reframing Difference: Progressive Portrayals of Disability in 21st-Century Animation
- Eszter Schmidt
- Jan 10
- 7 min read
17.10.2025 Written by: Eszter Schmidt
Over the past twenty years, animated movies have emerged as a key space for rethinking how disability is portrayed on screen (Rainer, 1970; Disability in Animated Films).
The Geena Davis Institute (GDI) recently released a report that studies disability representation in new and popular programming. While disability is still under-represented overall, GDI’s report suggests disabled characters appear in only about 1.5% of animated children’s content. It also revealed that in new programming, 1.4% of lead characters are disabled, while in popular programming, there are still no disabled leads (Geena Davis Institute, 2025).
The GDI also revealed that significantly more disabled characters appear in live action than in animated films (4.3% to 1.5%). This data suggests that prioritising only one of the media limits the opportunity to reach a wider audience (Geena Davis Institute, 2025).
There is little research available on the subject among major animation studios and mainstream animated movies. Focusing on feature films produced in the past 20 years, specifically by Disney, Pixar, and DreamWorks, a progressive effort was shown in portraying marginalized groups, but still lacking in disability representation (Disability in Animated Films, no date; Rainer, 1970).
Finding Nemo (2003) by Pixar was a strongly influential movie for further animation films regarding disability representation. Nemo’s smaller fin, called his “lucky fin, labels him physically different; however, he realizes it isn't what limits his capabilities but his father’s overprotective fear (Millett, 2004).
Fig. 1. Nemo, Finding Nemo (2003)
Dory has memory impairment, and she proves to be the key to solving problems. Their disabilities seem to be treated as socially created limitations rather than medical defects, which shifts the narrative in a new direction (Millett, 2004; Welch-Larson, 2024). The characters’ battle realistically reflects how disability is regularly underestimated in real life. The story still indicates stereotypical moments. Marlin regularly underestimates Nemo, suggests ableist views, and Dory’s difference at certain points appears to be a subject of ridicule (College, S. at L.-B.C.).
In 2009, Pixar created Up, where Carl overcomes his age-related limitations, flying his house, climbing mountains to get to Paradise Falls. Although he is the lead character of the story, his portrayal can be viewed as traditional. His mobility, hearing, and vision impairments all reflect his old age and suggest a stereotypical representation (Rainer, 1970; Disability in Animated Films).
Fig. 2. Carl, Up (2009) by Pixar Animation Studios
Another example of traditional disability portrayal is Vanellope von Schweetz in Disney’s Wreck-It Ralph (2012). Although the movie doesn't explicitly flag anyone with disability, Vanellope has a glitch that prevents her from being able to leave her game. She is being ridiculed by the other characters and is trying to hide her glitch out of shame. They ban her from racing and label her unsafe and broken. This kind of social exclusion suggests structural ableism (Disability in Animated Films). The story suddenly changes direction when it turns out that Vallope is a Princess and her glitch is portrayed suddenly as a superpower. It can be argued whether her disability is accepted by her environment only due to its usefulness. Even though the movie leans into the positive, there seems to be a mixed depiction.
The How to Train Your Dragon trilogy (2010 - 2019), by DreamWork, is a great example of progressive disability representation. Hiccup and Toothless both get injured in the first episode of the sequel and become the heroic protagonists of the sequel. Hiccup uses a prosthesis while his dragon Toothless relies on a prosthetic tail fin (Disability in Animated Films).
Fig. 3. Hiccup and Toothless, How to Train Your Dragon (2010-2019) by Dreamwork
The narrative introduces the viewers to several characters with prosthetics. Instead of the tragic portrayal, their disability is viewed as normal. The town and the inhabitants represent a social model where physical impairment and disability don’t have the consequence of marginalisation (Disability in Animated Films).
An interesting example of disability representation is the fisherman Massimo in the 2021 Pixar movie titled Luca. Massimo lives with one arm, but the movie doesn’t turn it into a tragic backstory or joke. It is part of his hard, although caring, character. His role becomes protective for Luca and Alberto. The narrative never suggests that he is “smaller” than others or that he needs to be “fixed” (Disability in Animated Films). He is well respected in the community and is also a very skilled fisherman. The town treats his one arm as normal and accepts him.
Fig.4. Massimo the fisherman, Luca (2021)
Massimo’s portrayal aligns with the social model of disability. His competency is on display, and he is well integrated in the story. At the same time, it is significant that he is the only disabled figure in the movie and occupies a supportive rather than a leading role (Disability in Animated Films).
A researcher from Cambridge University shared a study about Disney’s Encanto (2021), where they analyse and consider the movie could have potential therapeutic values. There is a discussion among professionals and disability advocates about the presence of generational trauma and mental health throughout the story. Isabela struggles with forced perfection, and Luisa carries the pressure of portraying her statuesque strength (Faculty of Education).
Fig. 5. Luisa & Mirabel, Encanto (2021)
Marginalisation seems to appear in Bruno’s character. His ability causes discomfort and disturbance in the display of the Madrigal family’s strength. The characters convey the metaphors of emotional distress and psychological disability (Faculty of Education).
The study questions whether animated films approaching similar progressive storylines, such as Coco and Soul, could help in child therapy.
The short animation titled Loop was released in 2020 and is widely recognised as one of the most authentic and respectful portrayals of disability in Disney/Pixar history (Disability in Animated Films).
The protagonist, Renee, is an autistic non-speaking young girl who goes on a canoeing trip. The movie avoids using speech; instead, it applies animation, colour, sounds, and pacing to convey Renee’s feelings. In order to communicate, Renee uses gestures, micro expressions and her hands.
Fig. 6. Renee, Loop (2020)
The other lead character is Marcus, who struggles but adapts his approach to communication with Renee. His act draws a real-life image of society’s assumptions and miscommunication. The movie clearly illustrates that it is not Renee who is the problem, but her environment and Marcus (Disability in Animated Films).
Fig. 7. Marcus, Loop (2020) by Pixar Animations Studio & Walt Disney
The movie is an authentic autism representation, but due to its shortness, it lacks depth. It can also be argued whether the narrative is drawn around Marcus’s experience, and Renee’s is secondary.
Although Loop is considered an authentic representation of autism, due to its short format, the narrative has limited depth. It can also be argued that the story focuses more strongly on Marcus’s experience, while Renee’s perspective remains secondary (Disability in Animated Films).
The conclusion is that there isn’t enough quantitative research on disability representation in mainstream media, while in television programming, there is an improvement. In the last twenty years, the depiction of disability in animated feature movies has shifted in important ways. While disabled characters are still rare, we can see more characters whose disabilities are not displayed as tragic or villainous. Overall, analysis of Pixar, Disney, and DreamWorks films shows that disability representation exists but is often shallow or inconsistent. Only a few examples offer genuinely progressive portrayals (Disability in Animated Films; Geena Davis Institute, 2025). Research from the 2010s and 2020s shows that the progress is uneven and disability is still underrepresented.
References
College, S. at L.-B.C. (no date) Finding nemo (2003), Difference, Power, and Discrimination in Film and Media: Student Essays. Available at: https://www.saskoer.ca/dpdfilm/chapter/finding-nemo-2003/?.com (Accessed: 21 November 2025).
(PDF) disability in animated films: A study on their representation and portrayal. Available at: https://www.researchgate.net/publication/390131474_Disability_in_Animated_Films_A_Study_on_their_Representation_and_Portrayal (Accessed: 17 October 2025).
(PDF) disability in animated films: A study on their representation and portrayal. Available at: https://www.researchgate.net/publication/390131474_Disability_in_Animated_Films_A_Study_on_their_Representation_and_Portrayal (Accessed: 17 October 2025).
Kids should talk about Bruno (no date) Faculty of Education. Available at: https://news.educ.cam.ac.uk/kids-should-talk-about-bruno?utm.com (Accessed: 21 November 2025).
Millett, A., 2004. Finding Nemo. Disability Studies Quarterly, 24(1).
O., S. (2025) Geena Davis Institute’s 2025 Children’s TV report reveals disability representation has increased – yet still has a long way to go , Disability BelongsTM. Available at: https://www.disabilitybelongs.org/2025/09/geena-davis-institute-2025-report/?.com (Accessed: 21 November 2025).
Rainer, L. (1970) Representation of disability in Disney films, SpringerLink. Available at: https://link.springer.com/rwe/10.1007/978-3-031-40858-8_480-1?.com (Accessed: 21 November 2025).
Welch-Larson, S. (2024) Oceans of possibility: Permission, disability, control, and finding nemo, Bright Wall/Dark Room. Available at: https://www.brightwalldarkroom.com/2024/07/09/oceans-of-possibility-finding-nemo/?.com (Accessed: 21 November 2025).
Images
Figure 1. JavaScript is not available. (no date) X (formerly Twitter). Available at: https://x.com/luckyfinproject/status/726822197071859712 (Accessed: 21 November 2025).
Figure 2. (No date) Well-rounded boy, Meet Old Square (published 2009). Available at: https://www.nytimes.com/2009/05/17/movies/17murph.html?mcubz=0 (Accessed: 21 November 2025).
Figure 3. Wilson, Z. (2025) This dark how to train your dragon theory changes everything about toothless & hiccup (& the movie’s most gruesome moment), CBR. Available at: https://www.cbr.com/toothless-bit-hiccup-dark-how-to-train-your-dragon-theory/ (Accessed: 21 November 2025).
Figure 4. R/shittymoviedetails on reddit: In Luca (2021), Massimo was born without an arm. that was done because the animators realised that if he had it in the boat scene, the only way for the protagonists to not be knocked off the boat and exposed would be for him to not do Italian hand gestures. Available at: https://www.reddit.com/r/shittymoviedetails/comments/198td8z/in_luca_2021_massimo_was_born_without_an_arm_that/ (Accessed: 21 November 2025).
Figure 5. KCUR | By Gina Kaufmann (2025) In 2022, Disney’s ‘Encanto’ is teaching me to stop defining myself by my accomplishments, KCUR. Available at: https://www.kcur.org/arts-life/2022-01-09/encanto-disney-luisa-madrigal-surface-pressure-ambition-resolution (Accessed: 21 November 2025).
Figure 6. Levine, J. (2020) Pixar’s first nonverbal autistic protagonist sets a new standard in ‘loop’, The Dot and Line. Available at: https://dotandline.net/pixar-loop-neurodivergence-nonverbal-autism/ (Accessed: 21 November 2025).
Figure 7. Lucas, F. (2023) The spectrum of kindness, Yes Fredia. Available at: https://www.yesfredia.com/post/the-spectrum-of-kindness-pixars-loop (Accessed: 21 November 2025).
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