STEREOTYPES OF LITTLE PEOPLE AND THEIR DEPICTIONS WITHINFICTIONAL AND NON-FICTIONAL TELEVISION

A thesis submitted to the faculty of San Francisco State University

In partial fulfillment of the requirements for

the Degree

Master of Arts

In

Broadcast Electronic Communication Arts

by

Mariela A. Gonzalez

San Francisco, California

May 2015

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BRoAt) •GG (o

Copyright by Mariela A. Gonzalez

2015

CERTIFICATION OF APPROVAL

I certify that I have read Stereotypes o f Little People and their Depictions within

Fictional and Non-fictional Television by Mariela A. Gonzalez, and that in my opinion

this work meets the criteria for approving a thesis submitted in partial fulfillment of the

requirement for the degree Master of Arts in Broadcast Electronic Communication Arts at

San Francisco State University.

Chris Clemens, Ph.D.Assistant Professor, BECA Department

STEREOTYPES OF LITTLE PEOPLE AND THEIR DEPICTIONS WITHINFICTIONAL AND NON-FICTIONAL TELEVISION

Mariela A. Gonzalez San Francisco, California

2015

This thesis explores the way the media stereotypes little people, which functions as a way

of portraying them as‘others’ in mainstream media. Specifically, it looks at how fiction

and unscripted television programs are a distortion of reality. Further, it shows how

television fails to represent individuals with dwarfism as they are. Using ideological

criticism and applied media aesthetics as a guide, I offer a content analysis of the first 5

episodes from the first seasons of the television series Little People, Big World and Game

o f Thrones respectively, in order to demonstrate how the media consistently uses

stereotypical images as a strategy of subjugation and as a way of disempowering the little

people community. The results of this analysis demonstrate that the discrimination,

prejudice and inequity towards little people is accurately portrayed in Game o f Thrones.

However, in Little People, Big World, which is often viewed as an inspirational non­

fiction television program, does not succeed at offering empowering representations of

little people.

ACKNOWLEDGEMENT

I would like to express my sincere and deepest gratitude to my advisor, Dr.

Melissa Camacho, for her excellent guidance, patience, motivation, and enthusiasm in

this thesis.

1 would also like to thank my committee members, Dr. Betsy Blosser and Dr.

Chris Clemens, who always supported and encouraged me to advance in my research on

the stereotypes of little people.

I offer my sincerest gratitude to my partner, Mario Cabrera, who introduced me to

San Francisco State University and the wonderful program of Broadcast and Electronic

Communication Arts. He gave me his love, motivation, best suggestions, dedication, and

encouragement throughout my career.

Finally, I would also like to thank Carlos and Justina, my parents, Yayi and

Choni, my grandmothers, Mariana, my sister, Titi, my aunt, and my family for supporting

me throughout all my studies. They always believed and encouraged me up. They are my

reason to succeed in life.

My thesis would not have been possible without the help of all of them.

v

TABLE OF CONTENTS

List of Tables..........................................................................................................................viii

List of Appendices....................................................................................................................ix

Introduction.................................................................................................................................1

Dwarfism.................................................................................................................................... 3

Historical Representations........................................................................................... 5

Little People and the Media......................................................................................... 6

Ideological Criticism................................................................................................................11

Applied Media Aesthetics....................................................................................................... 16

Method......................................................................................................................................17

Demographic Information.......................................................................................... 19

Aesthetic Elements...................................................................................................... 19

Physical Attributes...................................................................................................... 19

Personality Attributes/ Stereotypes........................................................................... 20

Character Interaction.................................................................................................. 20

Prominence in the Narrative......................................................................................21

Hegemonic Representations of Dwarfism................................................................21

Results.......................................................................................................................................22

Demographic Information.......................................................................................... 24

Aesthetic Elements......................................................................................................24

Physical Attributes......................................................................................................27

Personality Attributes/ Stereotypes........................................................................... 27

Character Interaction.................................................................................................. 29

Prominence in the Narrative......................................................................................31

Hegemonic Representations of Dwarfism................................................................32

Self-Identification.......................................................................................................35

Discussion................................................................................................................................ 37

Conclusions.............................................................................................................................. 38

References................................................................................................................................ 40

LIST OF TABLES

Table Page

2.1 Character’s Demographic Information by Show..............................................46

2.2 Aesthetic Analysis.............................................................................................. 47

2.3 Character’s Visual Depiction............................................................................ 48

2.4 Character’s Stereotypes......................................................................................49

2.5 Interaction Between Characters......................................................................... 50

2.6 Character’s Prominence......................................................................................51

2.7 Representation of Power and Hegemony.......................................................... 52

2.8 Self-Identification................................................................................................ 53

LIST OF APPENDICES

Appendix Page

1.0 Coded Transcript of Little People, Big World (Excerpt)..................................55

1.2 Coded Transcript of Little People, Big World (Excerpt)................................... 56

1.3 Coded Transcript of Little People, Big World (Excerpt)................................... 57

1.4 Coded Transcript of Little People, Big World (Excerpt)................................... 58

1.5 Coded Transcript of Little People, Big World (Excerpt)................................... 59

1.6 Coded Transcript of Little People, Big World (Excerpt)................................... 60

1.7 Coded Transcript of Little People, Big World (Excerpt)...................................61

1.8 Coded Transcript of Little People, Big World (Excerpt)................................... 63

2.0 Coded Transcript of Game o f Thrones (Excerpt)...............................................64

2.1 Coded Transcript of Game o f Thrones (Excerpt)...............................................66

2.2 Coded Transcript of Game o f Thrones (Excerpt)...............................................67

2.3 Coded Transcript of Game o f Thrones (Excerpt)...............................................68

*

ix

1

Introduction

The world is not made for little people. Almost everything is designed by and for

average-sized persons. Homes, furnishing, ATMs, clothes, shelves, supermarkets, cars,

and public transportation, among other commodities are created to satisfy our needs.

Little people face discrimination and hostility on a daily basis, and they are ‘the center of

attention’ not because of who they are, but due to their height. However, people with this

medical condition are not mentally ill or impaired and they have conventional lives as

any other person.

Stereotypes influence not only the manner in which other people are viewed and

treated but also the ways in which we view and treat ourselves. Kirsh (n.d.) explains:

“stereotypes are a generalized and/or assumed conceptualization about a group of

individuals” (p. 103). Dwarfism is one categorization that has been presented and framed

as ‘others’ with negative connotations throughout history, and still persists in today’s

society, through unscripted television, movies, and television series, little people are

visible targets of stigmatization.

Social groups create deviance by making the rules whose infraction constitutes a

departure from the norm, and by applying those rules to particulars and labeling them as

outsiders. The deviance is not a quality of the act but a consequence of the application of

social rules, like stereotypes. According to Ablon (1984), society considers a person

deviant if the look radically diverges from the societal expectations of beauty, height, and

weight. Furthermore, she argues that “the deviant is one to whom the label has

2

successfully been applied; deviant behavior is behavior that people so label” (Ablon,

1984, p. 24). In addition, these stereotypes are less clear for people with dwarfism,

because they “represent a classic example of a population who typically have been placed

in a different, deviant, and marginal status wherever we have found the evidence for their

existence” (Ablon, 1984, p. 23). Due to their low height, little people are perceived as

younger than they are, cheerful, or thought to be professional entertainers.

Images in film and television affect how the average height world views

individuals with dwarfism. Impressions of little people can be made through either a

powerful depiction or through negative images that create or reinforce a cultural

stereotype. Little people who work in the entertainment industry are often seen as major

spectacles. Their talent and accomplishments are often ignored or undervalued because

they are presented in stereotypical roles. This mechanism serves to categorize them as

different individuals from the ‘normal’ or average height population. Characters like the

dwarf-like professor Filius Flitwick in Harry Potter, the Leprechaun; the Secret Agent 00

in For Y’ur Height Only, and Willy Wonka and The Chocolate Factory’s Oompa-loompas

are some examples of how little people are framed negatively. The lack of diversity of

roles, and the inaccurate representation of them, creates a discourse of marginalization of

little people in today’s society.

The diversity, complexity, and visible differences of this population in the media

make dwarfism an important topic of research. For decades, individuals with dwarfism

have been presented as magical creatures, elves, or as fantasy characters. This thesis

3

explores the portrayal of little people as ‘others,’ and how the stereotypes of them in

fiction and unscripted television programs are a distortion of reality. It shows how

television fails to represent individuals with dwarfism as they are. In order to explain how

little people are portrayed as ‘others’, I am deconstructing the fictional fantasy series

Game o f Thrones, and the reality series Little People, Big World in order demonstrate

how two different genres portray little people. Using ideological criticism as a guide, I

will demonstrate how the media consistently uses stereotypical images as a strategy of

subjugation as a way of disempowering the little people community.

Dwarfism

There are several definitions of dwarfism. According to Backstrom (2012),

dwarfism is an ascribed and genetic condition present at birth, whereas Kruse (2003)

defines it as a person who for genetic or hormonal reasons grows to a height of less than

four feet eight inches. “There are more than 200 types of dwarfism, which occurs in

approximately 1 in 10,000 births regardless of race, ethnicity or nationality” (Kruse,

2003, p. 497). Similarly, Guse & Harvey (2010) define dwarfism as a medical condition

of disproportionate short stature, and Heider, Scherer, & Edlund (2013) state dwarfism as

a rare condition, where the most common form is achondroplasia. For the purpose of this

thesis, I will apply Ablon’s (1984) definition of dwarfism, known as skeletal dysplasia,

which includes anyone with a height of four feet ten inches or below whose short stature

implies a medical condition.

4

The estimated number of people with dwarfism in the United States varies from

scholar to scholar. Ablon (1984) estimates the number of dwarfs range from 20,000 to

100,000 individuals. Lee (2006) explains that there is no census information on the

number of little people in America, but estimates that there are 300,000 or more.

Regardless of the number, most people will see typically only two or three little persons

in their lifetime (Ablon, 1984, p. 6).

There are more than 200 types of dwarfism. Achondroplasia, the most common

form of dwarfism, occurs in about 80% of the individuals diagnosed with skeletal

dysplasia (Ablon, 1984, pg. 5). This condition is caused by one genetic mutation that can

affect the development of cartilage. According to Ablon (1984), it is one of the oldest

forms of physical difference in humans that can be traced thanks to representations found

in diverse cultures through time. Dwarfism can be found in males and females of all

races. They usually have an average size head and torso, but normally with short arms

and legs.

The correct terminology for individuals with dwarfism is ‘little people,’ ‘person

of short stature,’ or ‘dwarf.’ Terms like ‘midgets,’ ‘dwarfs,’ and even ‘freaks’ reflect the

common lexicon used to label little people. The term midget is a derogatory label related

to the stereotype of circus performers or people who used to work in the entertainment

industry, and dwarves is related to folklore or fantasy stories where little persons belong

to a mythical race. According to Mannix (1999) and Heider, Scherer, & Edlund (2013),

the word midget was historically used to describe little people who were proportional and

5

dwarf was used to describe those with disproportionate limbs. Today, Little People of

America (LPA) and the little people community see the term midget as a derogatory

label, although they agree with the term ‘little people’, Ablon (1984) explains that “the

word ‘little’ is often used as a denigrating expression, even when it does not relevantly

pertain to size” (p. 25). For this reason, the terms average size or average height people -

words used by little people to refer to others who are not little or those who do not have a

dwarfism condition—are used throughout this paper.

Dwarfism is not a common condition, and there is no medical treatment for it.

Unfortunately, it is commonly thought that persons with dwarfism have limitations and

are mentally disabled or impaired, which represents a barrier for little people in society.

But according to Ablon (1984), “dwarfs typically have normal intelligence, and although

some individuals experience specialized physical problems, most dwarfs generally are

able to engage in a similar range of occupations as average-size persons” (p. 6).

Historical Representations

The nature and relationships of dwarfs in society has changed throughout history.

Portraits and representations of little people can be found in Egyptian, Greek, Roman,

Mayan, and in the Pre-Columbian New World cultures. Backstrom (2012) explains that

from ancient Egypt through the eighteenth century, royalty prized dwarfs as entertainers.

They were also highly valued and placed in special roles, such as jesters, and keepers of

jewels or precious objects. During early modem Europe, little people were kept as pets

6

and exchanged as gifts. In royal courts, individuals with dwarfism were dressed and fed

well, smothered with kisses, and considered exotic items. Though occasionally

considered advisors, they were mostly there for amusement. In a similar way, people with

dwarfism used to receive titles by royal people. Backstrom (2012) explains that little

people received titles such as ‘General’ or ‘Princess’ and wore hats, fancy clothes and

lived with financial success. Sometimes dwarfs were treated as celebrities, such as

Charles Sherwood Stratton, better know as ‘General Tom Thumb’, and Lavinia Warren,

both of them performed in the circus P. T. Bamum and became the most famous little

couple in the nineteenth-century in America.

According to Backstrom (2012), dwarfs and people of short stature belong to the

mythical world, and not the mundane world of people’s daily experiences. Little people

have been represented as supernatural creatures in folk tales, typically represented as

small, elusive figures with human form, pointed ears, long beards, and magical powers.

Often, they represent nonhuman characters like elves or creatures from another world. As

a consequence of these mythical representations, it is common to think that little people

live in ‘midget cities’, which are villages or cities made for them.

Heider, Scherer, & Edlund (2003) explain that the term ‘freak’ “was used for the

first time in 1847, and eventually came to be the dominant term used by both sideshow

performers and the public until it fell out of favor at the turn of the twentieth century” (p.

682). The terms ‘monsters’ or ‘curiosities’ were used to refer to anomalous human bodies

of people publicly displayed for profit in the entertainment industry. The Ringling

7

Brothers Barnum and Bailey Circus is an example of a business that employed little

people for profit. However, this declined thanks to institutional changes and social

movements. Heider, Scherer, & Edlund (2003) note that reality television, talk shows,

and documentaries are the new traveling circuses and freak shows because they make

bodily differences, in the form of people with disabilities, little people, and obese people,

the central topic of their shows.

People of profound short stature, once regarded as freaks, have recently entered

society as equal human beings. In 1990, dwarfism was classified as a disability, but there

is controversy surrounding the appropriateness of the label. Scholars such as Ablon

(1984) note that little people are “ordinary people who bear the burden of a physical

difference, and more importantly, a symbolic difference that our society seldom allows

them to forget” (p. 22). Meanwhile, Kruse (2003) argues, “dwarfism often involves more

bodily difference than physical limitations” (p. 495).

The disability label is intended to describe people with dwarfism in a sensitive

way, but the term may carry cultural references that might affect the quality of life of

these individuals. Little people do not view themselves as physically disabled, just bodily

different. The results of Moneymaker’s (1989) study of the self-perception and social

adjustment of little people reveal that the most common problem they deal with is finding

employment due to being regularly discriminated against. Similarly, the scholar believes

that short individuals are less likely to be hired for a job, are considered to be less

attractive, and are less likely to be in a relationship. Heider, Scherer & Edlund (2013)

8

suggest that little people may pursue different occupations in the business industry and

have normal lives, but their characterization as handicapped or disabled people only adds

to the stigma of dwarfism. Thus they are socially disabled, because they are seen as a

group with problems that are specific to them, rather than the overall population.

Little People and the Media

Although American society and culture appears to be more open to human

diversity, skeletal dysplasia carries stigmatization and negative stereotyping, which is

defined as “the process of ascribing characteristics to people on the basis of their group

membership”(Oakes, Haslam & Turner, 1994, p.l). One can argue that this cultural

perception of little people is media driven. Heider, Scherer, & Edlund (2013) explain that

little people pursue careers in the entertainment industry and this increases the cultural

notion of little people as objects of entertainment “with many media depictions bordering

on the ridiculous” (p. 82). However, they also recognize that some media outlets such as

The Learning Channel (TLC) have produced programs meant to dispel common myths

about little people by showing them engaging in normal activities.

Through these representations, media depict individuals with dwarfism as

different from the ‘normal’ or ‘regular’ population, stereotyping, and categorizing them.

For the purpose of this work, negative depictions are those stereotypical portrayals of

little people as intellectually inferior, objects of ridicule, nonhuman beings, fantasy

characters, and not self-sufficient individuals. Positive representations are those realistic

9

portrayals of individuals with dwarfism as doctors, lawyers, or engineers, equal to

average height individuals.

There are three primary ways that little people are portrayed as “others” in the

media. They are either part of a fantastic, magical world, are angry and/or violent, or act

as comic relief. Individuals with dwarfism are mostly portrayed as magical creatures.

According to Winslow, Perks, & Avital (2007), “although magical abilities may not seem

like a negative attribute, consistently portraying little people as magical characters in

television programs and films serves to reinforce average height as the invisible centers

of normalcy” (p. 5). The stereotype is reinforced when little persons are portrayed as

having superhuman powers. Films like The Lord o f the Rings, Harry Potter (professor

Filius Flitwick), and The Leprechaun, among others offer negative representations.

Similarly, Inge (2004) claims that Disney reshapes stories to reflect American values and

frequently changes traditional fairy tales, nursery rhymes, and children's stories. The

dwarfs in Snow White and the Seven Dwarfs are supposed to protect Snow White, and

although they do not have superhuman powers, they are portrayed as children. “When

Snow White comes to stay with the Dwarfs, her first impulse is to treat them like

children, assume the role of the mother, and create a sense of domestic harmony” (Inge,

2004, p. 141).

The media-driven tendency to portray little people as angry or violent characters

may have an impact on the society and their perception. Dwarfs are often depicted as

novelty characters, rather than relying on their personal attributes. Examples like “Mini-

10

me” in Austin Powers, and “Hank the Angry Drunken Dwarf” in The Howard Stern Show

are negative and stereotypical representations of little people. Finally, according to

Winslow, Perks & Avital (2007) little people are portrayed as comic entertainment thanks

to activities like ‘dwarf tossing’ and ‘midget wrestling’.

There are positive media portrayals of people of short stature. Television shows

such as Little People, Big World, The Little Couple, Our Little Life, and The Little

Chocolatiers are positive, educational programs that portray little people pursuing a

variety of professions (Backstrom, 2012). Similarly, Lee (2006) states that Little People,

Big World should be ‘eye-opening’ for viewers because the show answers many

questions, like “can a dwarf mother have average children? What's it like to buy clothes?"

(Lee, 2006, p. 1). But some scholars note that these positive representations may also

offer second connotations. For example, Crupi (2011) explains that “The Little

Chocolatiers features a mix of dessert manufacturing and dwarfism, which offers a

parallel between the candy-making couple and Willy Wonka’s Oompa-Loopas” (p. 4).

Some may argue that the representations of little people discussed here are

archetypal in nature. However, there is a difference between stereotypes and archetypes.

According to Thomas (1983), “archetype is the original pattern from which copies are

made - a prototype; a stereotype is something copied or constantly repeated without

change” (p. 160). Archetypes are unconscious ideas, patterns, or images present in people

subconscious, and audiences universally recognize them. They are the product of

cultures, and reflect the variety of cultural and personal experiences that people share.

11

On the other hand, stereotypes are beliefs or perceptions regarding certain groups,

where people attribute emotional, aggressive, or racist characteristics to others. “They

present overgeneralized, exaggerated images which overlooked variability and denied

individuality” (Oakes, Haslam, & Turner, 1994, p. 3). They may be used to justify actions

towards outgroups, and these judgments influence the interaction between people and

lead to misrepresentation of individual’s true characteristics. Stereotyping is “the process

of ascribing characteristics to people on the basis of their group membership” (Oakes,

Haslam, & Turner, 1994, p. 1). It is a part of the adaptation to the social environment, but

it also represents a distortion of reality.

Ideological Criticism

Although media appear to present diverse communities and cultures, people with

skeletal dysplasia continue to be stigmatized by being portrayed in negative, stereotypical

roles. Media promote an ideology that reinforces the characterization of little people as a

minority in American society, thus reinforcing the notion that little people are ‘other’ in

mainstream society.

Stereotypes have been studied based on race, gender, age, nationality, religion,

and sexual orientations, but not too many studies have been done regarding height. Media

exert a significant role in society by framing dwarfism as ‘the other’ and portraying little

people as visible targets of stigmatization. In this thesis, I build on the concepts of

ideology, hegemony, and false consciousness proposed by Hall (1985) and Althusser

12

(1971) respectively, to argue how the systematic and negative depictions of little people

in Little People, Big World and Game o f Thrones are ‘othering’ them.

Ideological criticism reflects social power and political structure in a dominant

tenet. For the purpose of this research, I am focusing on social power (the ability to

influence thoughts and decisions through social hierarchies), and on relational power (the

ability to influence decisions and actions through relations that have been negotiated

between individuals).

Marx (1859) argues that everything is constructed based on a mode of production.

Society is organized to produce materials and necessary things for living, and there is a

specific social relation between workers and those who control the mode of production.

This constitutes “the economic structure of society, the real foundation, on which arises a

legal and political superstructure and to which correspond definite forms of social

consciousness” (Marx, 1859, p. 7). He argues that dominant institutions like government

entities, churches, classes, race, and gender relies on the creation and maintenance of a

false consciousness to reinforce and justify the dominant power structure (Marx, 1974, p.

80).

Similarly, Hall (1985) explains that the function of ideology is the reproduction of

social relations of production, which is the base for the existence of any society,

“ideologies are the frameworks of thinking and calculation about the ‘ideas’ that people

use to figure out how the social world works, what their place is in it and what they ought

to do” (Hall, 1985, p. 99). Television, as an institutionalized medium, shapes and

13

replicates our perception and beliefs about the world by representing a particular

depiction of a group within society. Hall’s argument suggests that television does not tell

us what to think about one group of people, but the information presented by the medium

exerts an influence on viewers’ perception.

Hall (1985) also argues that mass media, specifically television, base its

narratives on folklore and inferred assumptions present in society. The result is the

creation of a dominant consent in culture and society. He claims that those who oppose or

hold a different position about those representations in the media are marginalized.

Positions that appear radical or that deviate from established positions are meaningless.

Here, objectivity is not relevant because the production of media is not based on

prophetic ideals. Instead, “it is an institutionalized culture and a source of hidden

consensus” (Hall, 1985, p. 43). The portrayals found in media are not trends, but

representational strategies that reflect a consensual approach together with other

institutions of power. In addition, Hall (1985) states that “the practice of representation

within the media is systematic, institutionalized, specific, and ideological” (p. 45).

Gramsci (2009) proposes the term hegemony to “describe the idea of leadership

and its relationship between different classes” (p. 46). It is a process in which the

dominant class does not rule a society, but leads it through the exercise of intellectual and

moral leadership. It must be maintained by a dominant group or class, ‘negotiating’ with

the subordinate groups. In time of crisis, when moral and intellectual leadership is not

14

enough to secure the authority, the process of hegemony is replaced by the power of the

repressive state apparatus, such as the army, the police, etc.

According to Fiske (1987), hegemony is the “process whereby the subordinate are

led to consent to the system that subordinates them” (p. 39). This process is achieved

through the consent to view the social system as something natural, common. The

concept of hegemony allows viewers to think about television programming as a

negotiated medium where interests and values are balanced, shaped, and directed in

strategic ways that people may not always foresee. By watching television, people

satisfy, maintain, and legitimate the dominant ideology, incorporating it to their daily

routine.

Althusser (1971) rejects the interpretation of ideology through the concept of base

and structure. The essence of Althusser’s argument is that an ideological practice shapes

an individual’s relation to the social formation. The scholar’s idea of ideology

differentiates two mechanisms of production: the repressive state apparatus, conformed

by institutions like the police and the legal system, and the ideological state apparatuses,

conformed by private institutions such as school, the church, and the media which

communicate “beliefs that represent the imaginary relationship of individuals to their real

conditions of existence” (Althusser, 1971, p. 74). Althusser explains that ideology

promotes a false consciousness that recruits people by a process of ‘interpellation’, or

‘hailing’, which is used by media, and through this the representations found in television

become common sense for viewers.

15

Moreover, Gitlin (1979) states that American television entertainment supports a

hegemonic structure. The author proposes the concept of ideological hegemony as an

approach to question ideology and control, and states: “television messages are integrated

into the dominant system of discourse and the prevailing structures of labor,

consumption, and politics, in particular through these formal features of prime-time

network programs” (Gitlin, 1979, p. 251). He explains that format and formula, genre,

setting a character type, topical slant, and the solution imposed on the fictional problem,

are tools that media incorporates as opposing messages into the dominant ideology. Gitlin

(1979) explains that commercial culture does not manufacture ideology and that it only

relays, reproduces, and emphasizes that the ideology arise from social elites. As claimed

by Gitlin (1979), inside the formula of a program “there is a specific slant regarding a

public issue, and the usual slants fall in two categories: (a) a legitimization of

depoliticized forms of deviance, usually ethnic or sexual; or (b) a delegitimization of the

dangerous, the violent, the out-of-bounds” (Gitlin, 1979, p. 261).

According to Kenndall & Hunt (1996), television, like painting and cinema, are

dependent on history and ideology. They note that “individuals and social institutions,

such as the political system, the legal system, and the media are all influenced by

ideology” (Kenndall & Hunt, 1996, p. 79). Television programming has ideological

implications through the representation of ideas and characters, which mediates the

perception of little people. As a result, one can argue that the stereotypes of little people

as magical creatures, angry and violent individuals, or as comic relief, which reflect a

16

dominant or hegemonic ideology about little people are perpetuated, reinforced, and

serve to characterize them as ‘other. Through Little People, Big World and Game o f

Thrones and according to the dominant ideology, television is ‘hailing’ viewers to

understand dwarfism and the little people community as different individuals.

Applied Media Aesthetics

Producers select information and emphasize the elements they agree with, leading

to prejudiced perceptions. The process of selecting the content and applying aesthetics

principles is an ideological practice because everything is thought, calculated, and

presented to convince the viewer to consume the product without questioning it.

According to Zettl (2013), media aesthetics is a tool to comprehend the

techniques and criteria to develop an optimal, effective, significant, and predictable

message. He applies contextualism as a frame of reference to discuss media aesthetics.

Perception is based on contextual relationships and people judge or compare events and

objects in order to simplify them, and sometimes, certain events are noticeable or not

depending on the selective perception of each person. Producers look for essential

qualities to emphasize the most important elements in a way they fuse together in order to

create a message and communicate in an effective way. In addition, “the media take an

important place not only in the distribution of the message but also in shaping the

message” (Zettl, 2013, p.10). The selection of elements and techniques maximize the

effectiveness of the message.

17

Light is a key element of visual perception. When it is deliberately manipulated,

it can influence the communication purpose. Lighting reveals texture, volume, shape,

depth, or how objects look like, affecting the way that viewers feel about a person or

event. Directional light produces dense shadows and it gives additional information about

the real shape of the object, but “it can also fool you into perceiving what you normally

expect to see” (Zettl, 2013, p. 22). Similarly, color adds dimension, helps the viewer to

organize the scene, and it can also influence perceptions (Zettl, 2013, p. 70).

The camera allows audiences to ‘visualize,’ or see particular events from a point

of view (Zettl, 2013, p. 240). Medium shots (MS), close-ups (CU), extreme close-ups

(ECU), or over the shoulder shots (O/S) influence viewers’ perceptions because camera

angles facilitate continuity, multiple viewpoints, and intensify emotions. Likewise, sound

also plays a fundamental role, because it may reinforce a particular event or convey the

story, theme, plot, etc (Zettl, 2013, p. 333). In this thesis, an aesthetic analysis of these

elements is offered to exemplify the stereotypical portrayals presented in Little People,

Big World and Game o f Thrones.

Method

The purpose of this paper is to demonstrate how the stereotypes of little people in

television portray them as ‘others’. A content analysis of the first 5 episodes from the first

seasons of the television series Little People, Big World and Game o f Thrones was

conducted in order to demonstrate how people with dwarfism are represented on

18

television. Each episode was transcribed and categorized according to the different ways

little people were being presented in each of the television texts. An analysis of both

shows is then offered to illustrate how each television show reinforces or rejects the

‘othering’ of people with dwarfism.

Little People, Big World and Game o f Thrones were selected because both

programs feature little people that are essential to the storylines. They are also two of the

most watched TV shows that feature little people (Lee, 2006). TLC’s Little People, Big

World is one of the most in-depth television documentations of the lives of little people.

It is also the longest running unscripted television series that feature both little and

average-sized people (Backstrom, 2012). HBO’s Game o f Thrones was chosen for being

a fantasy drama that features a little person, Tyrion Lannister. According to Variety, it is

“ranked #29 among 50 most popular primetime entertainment series of 2013 among

persons 12-34” (Kissell, 2013). The first season of Game o f Thrones had an average of

2.5 million viewers and an average audience of 9.3 million viewers per episode, including

the re-runs and on-demand viewings (Adalian, 2013). Similarly, Hibberd (2013) indicates

that “Thrones is ranked as the most illegally downloaded television series for 2012”

(para. 4).

This study specifically focuses on the individual characters with dwarfism that

have primary roles in each narrative. The first 5 episodes of Little People, Big World and

Game o f Thrones are coded to identify basic elements of the primary little person

characters. This includes demographic information (type of dwarfism, gender, and age),

19

aesthetic elements, personality attributes or stereotypes, character interaction, prominence

in the narrative, and hegemonic representations of dwarfism.

The data were then organized into subcategories in order to reflect the

deconstruction of the archetypal representation and how it is being presented in the

media. The subcategories are:

Demographic Information

Table 1.0 - Characters’ Demographic Information

Coded for Little People, Big World Game o f ThronesCharacter(s) Type of dwarfism, gender, height, and age

Aesthetic elements

Table 1.2 - Analysis of Aesthetic Elements

Coded for Little People, Big World Game o f Thrones

Aesthetics Camera angles, audio/ sound, and lighting

Physical Attributes

Table 1.3 - Character’s Visual Depiction

Coded for Litle People, Big World Game o f ThronesHeight Short, medium, average, tallCleanliness Extremely dirty, clean, extremely clean

Professional dress codeExtremely professional, business casual, completely casual, unprofessional

Casual dress code Jeans and t-shirts

Personality Attributes/ Stereotypes

Table 1.4-Character’s Stereotypes

Coded for Little People, Big World Game o f Thrones

Magical or mythological Elves, leprechaun, imp, dwarvescreaturesFreakishness Circus performer, clownishness, etc.Historic representations Noted by jewels, pets, precious objects

Angry or violent personality

Childlike representation or Looks like a child vs. Treated like a childbehaviorAuthoritativeManipulativeUnintelligentUnderestimated (Due to theirstature)

Dwarfism as a medical condition Individual medical problems

Character Interaction

Table 1.5 - Interaction Between Characters

Coded for Little People, Big World Game o f Thrones, . , . . , How average height characters treated an individual withLittle people interactions with ,

, . , dwarfism. How little persons treated average heightaverage height personscharacters.

\

21

Prominence in the Narrative

Table 1.6 - Character’s Prominence

Coded for Little People, Big World Game o f Thrones

The prominence of little people within the narrative

How often the little person is seen on a episode, the prominence of his/her role, and his/her success rate

Hegemonic Representations of Dwarfism

Table 1.7 - Representations of Power and Hegemony

Coded for Little People, Big World Game o f ThronesUse of terminology in negative

context“Dwarf”, “midget”, “freaks”, “little”, “little people”, etc

Formula and genre of the program

Formula and genre as a tool for portraying individuals with dwarfism

Portrayal of dwarfism as a social disability

Little people as dependent individuals

Legitimization of deviance Little people as disabled people

Delegitimization of deviance Little people as ‘normal’

Interpersonal relation between little and average-height people

Position of the little person inside of the culture

Height as part of psychosocial well-being

Design and architecture of public spaces

The ‘celebrity treatment’ No mention of real talent or knowledge

Special recognitions Awards or titles such as ‘General’ or ‘Princess’

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Height as a symbolical difference Associated with social, political and economic success

Body stigma Out of the ‘norm or acceptable’

Results

The stereotypical depiction of individuals with dwarfism as nonhuman beings or

people with disabilities present in Little People, Big World and in Game o f Thrones are

summarized in Table 2.0. This is followed by the analysis of each individual category.

Table 2.0 - Summary comparison of findings

Subcategories Little People, Big World Game o f Thrones

Demographic Information

Amy: Achondroplagic dwarf, Female, 4’ 1” tall, 50 years old; Matt: Diastrophic dwarf, Male, 4’1” tall, 53 years old; Zach: Achondroplagic dwarf, Male,

4’4” tall, 15 years old

Tyrion: Achondroplagic

dwarf, Male, 4’5” tall, age unknown

Aesthetic Elements

Day outdoor illumination, daytime interior light, bright and clear, bright backgrounds, messy angles, medium shots, and some

close-ups

Key and back lights, chiaroscuro lighting, outdoor illumination, extreme close-ups,

and point of view or over the shoulder

shots

Physical AttributesAmy, Matt, and Zachary are little

people (less than 4'10” tall), casual dress code

Tyrion Lannister is a little person,

outstanding presence

23

Personality Attributes/ Stereotypes

Amy: We have twins but some people don't believe us because

Zachary is little like us and Jeremy isn’t; Matt: Most people

may assume that little people will have dwarf babies

Arya: Where's the imp?; Catelyn Stark: How much could he possibly drink? A man of his stature?

Character Interaction

Half of the family is little, but height is an unimportant factor;

Amy, Matt, and Zachary embrace themselves; Molly, Jeremy and Jacob comprehend their family

height difference

Tyrion struggles to gain the approval of his father and sister;

average height characters often show

preconceived ideas and discrimination

towards him.

Prominence in the Narrative

The storyline focuses on three main points: dwarfism, the

challenges that arise for being little, and family composition. The show is used to educate

society

Tyrion is a character with a prominent

personality; he uses his intelligence and

wisdom to overcome prejudice

Hegemonic Representations of Dwarfism

Zach: When people see me and they see that I am a little person they are probably thinking why was he made like that, what a

freak; Matt: A lot of people think that little people and people on

crutches cannot do things; Zach: It is ok to show to people that it is ok to be different; there is nothing

wrong with us. We are still normal; Amy: When you are

outside of your environment is where you realize the extra steps

that you may have to take

John Snow: Ask me nicely and maybe I'll

tell you, dwarf.

Self-Identification

Amy: We are little people; Matt: I was born with diastrophic

dwarfism; Zach: I look at the mirror and see myself as having

Tyrion: Never forget what you are, the rest of the world will not; Tyrion: What you see

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big head, short, and small arms; is a dwarfAmy: We have to face obstacles

and challenges just to live anordinary life; Zach: As a little

person I am smaller; Matt: Whenyou are a little person obviously

mobility is a big issue

Demographic Information

As noted in Table 2.1 (Appendix), in Little People, Big World Amy is an

achondroplagic dwarf. She is 4 feet 1 inch tall, 50 years old, wife and a mother of four.

Matt is a diastrophic dwarf, which causes him to use crutches and a motorized car to

move around. He is 4 feet 1 inch tall, 53 years old, husband and father of four. Zacharay

is an achondroplagic dwarf, he is 4 feet 4 inches tall, 15 years old and has an average

height twin brother, Jeremy, a sister Molly and a brother, Jacob -both of them average

height, too. In Game o f Thrones, Tyrion Lannister is a little person, and the character is

played by Peter Dinklage whom according to Lacob (2012), was bom with

achondroplasia. Tyrion is 4 feet 5 inches, and within the television series there is no

mention of his age and type of dwarfism.

Aesthetic Elements

Little People, Big World has predominant day outdoor illumination. As noted in

Table 2.2 (Appendix), there is bright and clear daytime interior lighting with bright

25

backgrounds, and the house has a slow-falloff illumination, a highly directional hard

spotlight that hits an object from a steep angle producing a reduction of facial texture.

The camera angles are not elaborate; there are medium shots, close-ups, and points of

view (POV) where the camera follows the characters. During the direct address segment

producers use medium shots while the character is sitting, and the camera angles do not

point out the height difference. Through the use of medium shots, producers are guiding

the audience to focus their attention on the character and his interaction within the series.

The soundtrack of Little People, Big World sets the space for the family’s

presentation as an introduction to each episode. The sound varies depending on whether

or not the family is being recorded in their daily activities. There are some production

limitations that keep the sound from achieving an optimal level. For example, in some of

the episodes the sound seems to be picked up and recorded simultaneously with the

image (direct sound recording) and consequently, the audio quality is limited. The indoor

locations appear to have an optimal volume and the dialogue seems to flow naturally.

The direct address form can be appreciated in Little People, Big World. It occurs

when a character speaks directly to the viewer from the screen position and, although the

dialogue is constructed it sounds natural, giving the maximum of information. Zettl

(1999) observes that this technique “should make you wish you had said it that way” (p.

323). Producers use this approach when Amy and Matt explain their type of dwarfism,

their personal and professional dreams and fears as individuals and as parents, and the

family achievements conveying educational messages.

26

In Game o f Thrones, key and backlights are used to illuminate Tyrion in several

scenes, creating a separation between the character and the background. The producers

create a chiaroscuro lighting environment, in contrast to a lot of light and dark areas that,

according to Zettl (2013), intensifies the three dimensional property of things and the

space surrounding the character. The lighting directionality brings the viewer’s attention

to Tyrion’s face. However, sometimes Rembrandt lighting is used to illuminate specific

sectors of his face while others are purposely dark, creating transparent shadows, fast

falloffs, and background luminescence. The fast falloff emphasizes the facial texture of

the characters. Because the story develops in medieval times, the prevalent illumination is

semi-dark, with low-key lighting and indoor candle illumination. There is also a strong

presence of blacks, grays, browns and dark blues with equivalent hues, low light and

saturation.

Tyrion frequently appears alone in every shot, specifically on medium and wide

shots. The camera angles do not accentuate Tyrion’s height difference, but portray him as

an average height character. Through the use of close-ups, producers magnify Tyrion’s

appearance and present him as a pleasant and average height character. The producers’

approach to sound is professional and high quality, very similar to film sound, which is

unusual for television shows. The balance between video and sound convey the theme of

the series developing the story, introducing new characters, describing different events,

and suggesting what might happen in the future.

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Physical Attributes

In Little People, Big World Amy, Matt, and Zachary are little people, while

Jeremy, Molly, and Jacob are average height. The Roloff’s family dress code consists of

casual jeans and t-shirts, except during the confessionals, where they wear a business

casual or professional clothing style. In Game o f Thrones, Tyrion Lannister is well

dressed due to his social strata.

Personality Attributes/ Stereotypes

In Little People, Big World the show intends to dispel common stereotypes that

little people have to deal with. The most remarkable cliche is related with Zachary and

Jeremy: nobody believes they are twins because of their height difference. During the

interview, Amy states: “ we have twins but some people don’t believe us because

Zachary is little like us and Jeremy isn’t” . For some average height persons and people in

society, twins should look-alike or at least that is the expectation. When people see

Zachary and Jeremy, they are seeing something out of the norm, and their reaction is

quite expected because people do not usually see this height difference in twins.

Likewise, producers dispel the idea that little people are bom only from little

people. Every episode starts with an introduction where Matt states: “You may be

surprised to learn that they [his parents] are average height in fact, Amy’s parents are

average height too” . During the show Amy and Matt express in several occasions that

28

their parents are average height individuals and nobody else in the family -except in

Matt’s family- was little. Matt comments: “most little people are born to average height

parents” . Amy also explains: “most people may assume that little people will have dwarf

babies”.

Producers also discuss the myth that little people cannot become parents. Amy’s

worries about becoming a mother and having a family play an important role in the

series. She expresses: “my biggest fear is that the kids would be taken away from me

because I am a little person and I could not be a good mother because of being a little

person”. Amy also explains that little people can have babies, and average height babies

too, but they need a c-section to deliver them due to the small size of their bodies.

Similarly, producers subtly mention that little people eat the same amount of food

as any other person. Many people in society might assume that individuals with dwarfism

will eat small portions of food, but that is a myth. Mannix (1999) explains that little

people will not order child-size portions of food in restaurants even if they cannot finish

the regular meal. As an example, in the episode 5, Amy jokes with Molly regarding how

much she can eat.

In Game o f Thrones, many people try to diminish Tyrion Lannister because he is

a little person. Different characters throughout the story, including Arya Stark, Cersei

Lannister, Ross, Petyr Baelish, and Theon Greyjoy, among others, refer to Tyrion as the

imp. This term is a cultural stereotype related to mythological creatures; it conveys the

29

idea that he is small, goblin-like, and evil. This characterization of Tyrion is constant

throughout the five episodes.

Tyrion’s treatment as a mythological creature implies several things. First, he is

seen as a person with disabilities as a result of his medical condition. Tyrion’s father and

sister use this as a tool to undervalue, minimize, and see him as someone incapable of

fulfilling his obligations with the Lannister’s house. Tyrion’s real qualities and

capabilities are never emphasized by his family, and as an example, his sister refers to

him as “a little beast”. Second, some characters such as Arya Starks, finds Tyrion’s

appearance more intriguing than anything else. With questions as “where’s the imp? or

statements like “go and find the little beast” , one can see and hear how the characters in

the story focus their impressions of him around his height instead of his achievements or

potential. Third, not even Ross, a prostitute, refers to Tyrion as a respected man, a Lord.

Character Interaction

Despite the fact that Amy and Matt argue that they are a ‘normal’ family, and

that height is an unimportant factor in their lives, Little People, Big World hails viewers

to understand that the family is “different” because of the little people in the family, and

because they co-exist with others of average height. Amy, Matt, and Zachary are also the

main characters in the series because they are little people. Jacob, Molly, and Jeremy do

not assume a protagonist role due to their average height; however, they appear in every

30

episode and always interact with their parents and brother. Amy, Matt, and Zachary

embrace themselves and accept their dwarfism.

Jeremy understands his parents’ condition by stating: “I also think it is important

for everybody to know what dwarfs need to go through day after day” (see Table 2.5).

Molly is also aware of their parents’ height and helps her mother around the house,

probably more than any other member in the family. Similarly, Jacob also comprehends

their family’s height, and does not pay attention when others stare at his parents in public.

Game o f Thrones portrays the complexity of people and society. Themes such as

honor, honesty, struggle, and prejudice are an important part in this fictional drama and

its characters. Jacoby (2012) states: “the conflict entailed one lonely, misshapen dwarf’s

efforts to survive in a society that looks down on him” (pg. ix). Tyrion Lannister

struggles to gain the approval of his family, specially his father, Tywin Lannister, who

blames Tyrion for the death of his wife. He is mistreated by his father and sister Cersei

Lannister, creating a hail in the series and reinforces the ideological way of presenting

little people.

Average height characters that interact with Tyrion often show preconceived ideas

and discrimination towards him. One of them is his father. Tyrion acknowledges the fact

that his father does not love him, “I’m a constant disappointment to my own father and

I’ve learned to live with it” . His father’s rejection reflects a phenomenon documented by

by Mannix (1999), who describes how children with dwarfism “are rejected by their

parents as ‘devil’s children’” (p. 16).

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Prominence in the Narrative

The storyline of Little People, Big World focuses on three main points: dwarfism,

the challenges that arise from being little, and family composition. The Roloff family and

the producers of the show present dwarfism as a social disability, not a medical one.

Amy, Matt, and Zachary maintain a positive identity. They are aware of their condition,

and fully participate in every activity.

This reality television show is used to educate society about dwarfism. The

opening sequence of every episode starts with a presentation made by Amy and Matt.

Here they state that (a) they are little persons; and (b) they have to face a lot of obstacles

just to live an ordinary life. They also introduce their family, composed of three average

height kids and one that is little. They go on to note that they want everybody to

understand that they are capable of doing what everybody else does.

The challenges that arise as a result of being little are presented throughout the

show. Matt always explains his mobility issues and how they are caused by a problem

with his joints. He shows how his golf cart and scooter as his primary modes of

transportation for long distance travels. His wife Amy does not have mobility issues, but

the viewer can see her climbing shelves or asking for assistance in the grocery store.

Zachary also has to deal with height problems. His passion is playing soccer and he is not

able to run as fast as his teammates.

Family composition and interaction are emphasized in the show. The fact that

Amy and Matt are little persons and have three average height kids in addition to Zachary

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serves as the show’s hook. It is a common stereotype to think that little people are born

from other little people, but Matt always clarifies that it is not the case. Similarly, Amy

describes this myth and explains the statistical probabilities of having dwarf babies,

especially in couples where both parents are little, she adds: “Most people may assume

that little people will have dwarf babies” (see Appendix 1.2).

Although Tyrion Lannister spends most of the time drinking and having sex with

prostitutes during the first episodes, he is a brilliant character with a prominent

personality. Whatever Tyrion lacks in height, he makes up for it with his intelligence and

wisdom, which he uses to overcome the prejudice he faces. The result is that people are

constantly mistaking his stature for vulnerability. Because they underestimate him, he is

able to handle them.

Hegemonic Representations of Dwarfism

As previously mentioned, little people have been called offensive and derogatory

names throughout the history. In Little People, Big World nobody refers to them as

dwarfs or freaks, but Zachary tells a story about an issue he had when he was at the

grocery store and someone called him a ‘freaking midget’. Through this example, the

Roloff family and the producers of the show are creating awareness of this type of

discrimination. Zachary acknowledges that some people do not understand dwarfism, and

that they may stare at him or call him inappropriate names. He states, “when people see

33

me and they see that I am a little person, they are probably thinking why was he made

like that, what a freak”. He is already used to that kind of treatment from people.

During the series, dwarfism is also portrayed as a social disability. Little people

might be portrayed as dependent individuals, but this is not always the case. Amy cannot

reach certain products on the shelves in the supermarket or at home, but she always

figures out the way to get what she needs. Through specific statements, Amy and Matt try

to change this conventional image and demonstrate to the world that they are able to

accomplish the same things that an average person could do through statements like “we

can pretty much do what everybody else does but just in a different way” and “a lot of

people think that little people and people on crutches cannot do things” (see Appendix

1.5). But they also show their frustration, which is noted when Amy states, “well, when

you are a little person, there are moments when you get tired of having to adapt or do the

constant what can you get and what you cannot”. Dwarfism is seen as a social disability

due to the fact that the places little people go to and in which they must operate are

designed for average height people. They are also tired of how little people are

stigmatized.

Similarly, Little People, Big World tries to present little people as ‘normal’ in

order to delegitimize the deviant ways little people are portrayed. It attempts to depict

individuals with dwarfism as average or normal people. Through statements such as: “I

don’t need to wait around for someone to help me, I can figure it out by my own”, or “we

are very capable and usually most diastrophics have good ability adapting to their

34

environment” (see Appendix 1.4). Producers portray the Roloff family as independent

individuals who can accomplish their every day duties.

In addition, height is presented as symbolically different. The idea that height is

associated with social, political, and economic success can be appreciated in Little

People, Big World. Molly expresses that because Zach is little, he cannot play soccer as

well as Jeremy or average height people. Statements like “Zach, he has to be able to use

his brain more in the game [soccer] because he has to make up for not being able to run

as fast and keep up with the ball” , and “If Zach were tall he would probably be like three

times as good as Jeremy was at soccer, because he is really smart ” (see Appendix 1.3)

describe Zach as being inferior for being little.

As a little person, Tyrion Lannister faces constant discrimination. Although he is

intelligent and comes from a wealthy and powerful family, people do not take him

seriously due to his height. ‘Dwarf’, ‘little’, and ‘half man’ are some derogatory terms

used by characters in the story to label Tyrion (see Appendix 2.0). This preconception is

well represented throughout the show. Part of it is due to the show’s genre and formulaic

storytelling approach. However, the use of demeaning language also reproduces the

dominant ideology of average people.

Tyrion Lannister is shown as an independent individual who pays little attention

to labels. His strong personality helps him face hostile comments from people. Although

Game o f Thrones is a fictional television production that takes place in medieval times,

Tyrion is not portrayed as a freak or as an entertainer in the royal court. He does not hold

35

any special title or recognition that alludes to his stature. Tyrion is presented as an

independent person who recognizes his condition, which does not stop him from pursuing

his ambitions and aspirations. This helps him to deal with his family and society.

Tyrion is presented as any other character in the story. He does not have magical

powers nor does he look like an elf or a goblin. Tyrion is shown as an independent

individual without a disability that happens to be smaller than regular people. His size

does not prevent him from relating with average height individuals and interacting with

women. Within the story, Tyrion does not demonstrate any difficulty having access to

places or do things. In fact, he is able to ride on his horse and move freely. Due to his

social and economic status as a Lord, he has had access to education and a good life.

The content analysis of both shows reveals a 6th category called Self-

Identification. This section is intrinsically related with the categories of personality

attributes/stereotype and hegemonic representation of dwarfism respectively.

Self-Identification

In Little People, Big World Amy, Matt, and Zachary Roloff acknowledge their

condition. Throughout the series, statements such as, “we are little people”, “I was born

with diastrophic dwarfism” , and “I am an achondroplagic dwarf, so is our son Zachary”

(see Appendix 1.7), denote how the Roloff family identify themselves as little persons.

However, the constant mention of their condition during the show creates a separation

36

from the viewer. The introduction to every episode of the series works as a mechanism of

differentiation. In an indirect way, it serves as a reminder of their height and their

possible limitations. This information does not allow the viewer to see the Roloff family

as ‘normal’ family.

The challenges or limitations inherent to their condition are also recognized.

Amy and Matt always mention the different obstacles they face in order to accomplish

their duties. Statements such as “we have to face obstacles and challenges just to live an

ordinary life”, “I think a lot of people look at the little person and they do not appreciate

the challenges that we do have” and “as a little person I am smaller, I cannot run as fast, I

am not as physical” (see Appendix 1.8), are limiting messages for individuals with

dwarfism. The obstacles that little people have to overcome are a consequence of a social

disability, which they already acknowledge.

In Game o f Thrones Tyrion Lannister recognizes and embraces that he is a little

person. This helps him to secure his position and role inside of the culture. Tyrion knows

and accepts his limitations. He is small and he is not as strong as an average height

person, but the fact that he is ‘different’ from others does not stop him. However, he is

very intelligent, and he is constantly cultivating his intellect with books. He considers

himself as a good commander who can win battles, as he tells John Snow, “Well, my

brother has his sword and I have my mind”. Moreover, Tyrion understands what being a

dwarf means. He is aware of the preconceived ideas of society regarding individuals with

37

dwarfism. He acknowledges that neither his father nor his sister have positive feelings

towards him.

Discussion

Game o f Thrones offers an accurate representation of discrimination, prejudice

and inequity towards little people. The fictional drama produced by David Benioff and D.

B. Weiss shows the ways in which some average height persons see and treat little

people. This might promote a sense of reflection and analysis in the viewer. The

interpersonal relation between Tyrion and average height characters is fascinating

because he knows how to deal with his stature and limitations, as Peter Dinklage states:

“He likes playing with people’s expectations of his size”. This quality has never been

seen in other television programming, and it goes out of the traditional hegemonic way of

presenting the stereotype of little people in television. According to HBO, actor Peter

Dinklage is not interpreting the average little person in a television series, which

challenges the existing hegemonic system.

Producers make an effort to portray the Roloff family as empowered individuals

who overcome the obstacles in their lives, challenging the traditional depiction of little

people in the media. The representation of challenges in everyday routines and the

pressure that little people have to deal with is accurately presented in Little People, Big

World. However, the drama of the show focuses more on those activities that may

38

represent a challenge for them due to their height. As a result, viewers might feel

sympathy towards little people.

Although Little People, Big World can be seen as an inspirational, non-fiction

television program, it manages to other them. Comments such as “because I am a little

person I know that I have to work harder, faster, stronger, and smarter to get where I need

to go because I am a little person” or “it is ok to show to people that it is ok to be

different. There is nothing wrong with us. We are still normal” create a separation from

the viewer and automatically place little people as a different category of human beings,

following the traditional representation previously mentioned. Instead or normalizing

their appearance, dwarfism is used as a mechanism of differentiation.

Little People, Big World makes things a little smaller. The title of the program and

also some of the episodes’ names include the word ‘little’. According to The Learning

Channel (TLC), the show promotes diversity, inspires people with disabilities and also

provides education about individuals with dwarfism. This goal would be better met if the

show didn’t emphasize the world ‘little’. By repeating the word ‘little’, producers are

dissociating the viewer from the Roloff family, and are accentuating their height

differences.

Conclusions

This thesis is an attempt to explain the way the media offers a hegemonic way of

portraying little people by creating and perpetuating marginalizing stereotypes.

39

Analyzing the depiction of little people in television contributes to a better understanding

of their height difference, and represents an opportunity to improve the way they are

perceived by viewers. A quantitative study is recommended for future research. It is

necessary to survey average height individuals to reveal their perceptions of little people

as a result of media consumption; it is also significant to explore how do the little people

community feel about the way they are represented on television. Furthermore, future

research should analyze and consider more than two television series in the study in order

to compare different depictions of short-statured individuals.

The character of Tyrion Lannister is challenging the stereotypes of little people in

society. His presence and popularity in the show can potentially increase the viewer’s

acceptance of little people as capable individuals.

Although the social roles and representations of little people have undergone a

certain transformation during the last half-century, the forces that caused them to be

mocked and exploited are still in evidence. Despite the fact that some media outlets such

as The Learning Chanel (TLC) have produced television programs meant to dispel

common myths about little people, the attempt to foster a positive perception of them is

not necessarily successful.

The cultural perception of little people is media driven and American hegemonic

culture places an extraordinary value on height. Persons with dwarfism should not be

treated as entertainment objects or magical creatures, but rather as any other human

being. If little people start to be portrayed in a more positive and capable way in different

40

genres of television, and without being labeled as disabled, society’s perception of

dwarfism could sensibly evolve as well.

41

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List of Tables

46

Table 2.1 - Character’s Demographic Information by Show

Little People, Big WorldAmy Roloff Achondroplagic dwarf, Female, 4’ 1” tall, 50 years old

Matt Roloff Diastrophic dwarf, Male, 4’1” tall, 53 years oldZachary Roloff Achondroplagic dwarf, Male,4’4” tall, 15 years old

Game of Thrones

Tyrion Lannister Achondroplagic dwarf, Male, 4’5” tall, age unknown

47

Table 2.2 - Aesthetic Analysis

Coded for Little People, Big World Game o f ThronesKey and back lights,

Day outdoor illumination, daytime chiaroscuro lighting,

Aestheticsinterior light, bright and clear, outdoor illumination,

bright backgrounds, messy angles, extreme close-ups, andmediums shots, and some close-ups point of view or over

the shoulder shots

48

Table 23 - Character’s Visual Depiction

Coded for Little People, Big World Game o f ThronesHeight, cleanliness, Amy, Matt, and Zachary are little Tyrion Lannister has

professional or casual dress people (less than 4'10" tall), casual an outstandingcode dress code presence

49

Table 2.4 - Character’s Stereotypes

Coded for Little People, Big World Game o f ThronesRepresentation as magical or

mythological creaturesArya: Where's the

imp?

Underestimated

Amy: We have twins but some people don’t believe us because

Zachary is little like us and Jeremy isn’t

Catelyn Stark: How much could he

possibly drink? A man of his stature?

Dwarfism as a medical condition

Matt: Most people may assume that little people will have dwarf babies

50

Table. 25 - Interaction Between Characters

Coded for Little People, Big World Game o f Thrones

Interaction of little people with average height persons

Half of the family is little, but height is an unimportant factor; Amy, Matt, and Zachary embrace themselves; Molly, Jeremy and Jacob comprehend their family height difference

Tyrion struggles to gain the approval of his father and sister; average height characters often show preconceived ideas and discrimination towards Tyrion

51

Table 2.6 - Character’s Prominence

Coded for Little People, Big World Game o f Thrones

The importance of little people in the television show and the

storyline

The storyline focuses on three main points: dwarfism, the challenges

that arise for being little, and family composition. The show is

used to educate society

Tyrion is a character with prominent

personality; he uses his intelligence and

wisdom to overcome prejudice

52

Table 2.7 - Representation of Power and Hegemony

Coded for Little People, Big World Game of Thrones

Use of terminology in negative context

Zach: When people see me and they see that I am a little person

they are probably thinking why was he made like that, what a freak

John Snow: Ask me nicely and maybe I’ll

tell you, dwarf.

Formula and genre of theprogram

Portrayal of dwarfism as a social disability

Matt: A lot of people think thatlittle people and people on crutches

cannot do things

Legitimization of deviance

Zach: It is ok to show to people

Delegitimization of deviance that it is ok to be different; there is nothing wrong with us. We are still

normalInterpersonal relation between

little and average-height people

Position of the little personinside of the culture

Design and architecture ofpublic spaces

The ‘celebrity treatment’Special recognitions

Amy: When you are outside ofHeight as a symbolical your environment is where you

difference realize the extra steps that you may have to take

Body stigma

53

Table 2.8 - Self-Identification

Character Little People, Big World Game o f Thrones

Acknowledgement of their condition

Amy: We are little people; Matt: I was born with diastrophic

dwarfism; Zach: I look at the mirror and see myself as having big

head, short, and small arms.

Tyrion: Never forget what you are, the rest of the world will not; Tyrion: What you see

is a dwarf

Recognition of challenges or limitations inherent to the

condition

Amy: We have to face obstacles and challenges just to live an ordinary life; Zach: As a little

person I am smaller; Matt: When you are a little person obviously

mobility is a big issue

54

Appendices

55

Appendix 1.0 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Personality Attributes/ Stereotypes

Episode Character Coded for: Understimated (UE)

Introduction to every episode

AmyAmy: We have twins but some people don’t believe us because Zack is little like us and Jeremy isn’t.

Amy: My biggest fear is that the kids would be taken from1 Amy me because I am a little person and I could not be a good

mother because of being a little person.

3 JacobJacob: Having a little people parent is wear because they are little like kids.

3 AmyAmy: I wonder what they are thinking, you know, ok a little person mom is coaching.

4 Jeremy Jeremy: Zachary being as little as he is...

Molly: What?5 Molly and Amy Amy: People are going to think: how wonder can she eat so

much? -laughs- you know, just being a little person -laughs-

56

Appendix 1.2 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Personality Attributes/ Stereotypes

Episode Character Coded for: Dwarfism as a medical condition (DMC)

1 Matt Matt: You may be surprised to leam that they [his parents) are average height; in fact, Amy’s parents are average height too.

3 Matt Matt: Most little people are bom to average height parents.

5 Amy Amy: Most people may assume that little people will have dwarf babies.

57

Appendix 13 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Hegemonic Representations of Dwarfism

Episode Character Coded for: Height as a symbolical difference (HSD)

1 MollyMolly: Zach, he has to be able to use his brain more in the game [soccer] because he has to make up for not being able to run fast and keep up with the ball.

1 MollyMolly: If Zach were taller, he would probably be like three times as good as Jeremy was at soccer, because he is really smart.

1 AmyAmy: Just because you are a little person does not mean that what you want, your dreams, and aspirations won’t happen. It may take a little more work, but you can do it.

1 Amy Amy: When you are outside of your environment is where you realize the extra steps that you may have to take.

2 Zach Zach: A foot higher is a new whole world.

2 Jeremy Jeremy: I found myself starring like: Oh, this is a little wear.

2 JacobJacob: Since all my teammates are the same size as mom I think it is kind of wear but fun for them, fun to have a coach with their own level.

2 Molly Molly: I probably have to help around more and that kind of stuff than most kids would do.

3 AmyAmy: Taking care of four kids is a challenge for anyone, but being a little person there are definitely added challenges along the way.

58

Appendix 1.4 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Hegemonic Representations of Dwarfism

Episode Character Coded for: Delegitimization of the deviance (DD)

1 Amy Amy: I don't need to wait around for someone to help me. I can figure it out by my own.

1 MattMatt: We are very capable and usually most of diastrophics have good ability adapting to their environment even though you look at them and ask how do they even function.

1 Zach Zach: It is ok to show to people that it is ok to be different. There is nothing wrong with us. We are still normal.

3 Molly Molly: I do not really care when they point out. My mom is little.

59

Appendix 15 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Hegemonic Representations of Dwarfism

Episode Character Coded for: Dwarfism as a social disability (DSD)

Introduction to every episode

Amy Amy: We can pretty much do what everyone else does but just in a different way.

1 Matt Matt: Most little people, they are living in their own homes, you know, with good jobs and a lot of them raising families.

1 ZachZach: Jeremy, he understands that it is the height, not the mentality of being small.. .but he doesn't know how it feels to be small.

3 AmyAmy: Well, when you are a little person there are moments when you get tired of having to adapt or do the constant what can you get and what you cannot.

4 Matt Matt: I think a lot of people feel that when you have a disability it’s all about going through the world as a survivor.

4 Matt Matt: A lot of people think that little people and people on crutches cannot do things.

Appendix 1.6 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Hegemonic Representations of Dwarfism

Episode Character Coded for: Use of language, derogatory terms (DT)

3 ZachZach: When people see me and they see that I am a little person they are probably thinking why was he made like that, what a freak.

61

Appendix 1.7 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Self-Identification

Episode Character Sample

Introduction to every episode

Matt and Amy Matt: My name is Matt Roloff and this is my wife Amy. Amy: We are little people.

Introduction to every episode

Matt Matt: When you are only 4 feet tall you feel like your limited world was not made for you.

1 Matt Matt: I was bom with diastrophic dwarfism.

1 Matt

Matt: I have a community outreach program to go into schools and talk about dwarfism...I do feel a responsibility to society, to educate them, not so much for my own sake, and for my own little people.

1 Amy Amy: I am an achondroplagic dwarf, so it is our son Zachary.

1 MattMatt: I think as a little person with 44 years old I am just starting to realize how I have enjoyed my life, taking care of my family, and being a good example to my kids.

1 ZachZach: If I had a choice to pick me being small or tall, I will probably keep it the same because it is just life and I was made this way.

62

2 Matt Matt: I mean Zachary is a little person like Amy and I, and Jeremy is an average size person.

2 Zach Zach: I look at the mirror and see myself as having big head, short, and small arms.

2 Zach Zach: I want three kids, preferable three boys and all of them dwarfs.

3 Zach Zach: I don’t think that any stranger will think that I am normal.

3 Amy Amy: I am never quiet sure with the kids all think when they have a little person as a coach.

5 Amy Amy: I want to be the best coach I can be, since I am the same height as most of my players.

5 Amy Amy: Here I am, a little person mom way up in the clouds seeing things in a way that anyone would be lucky to see.

63

Appendix 1.8 Coded Transcript of Little People, Big World (Excerpt)

Subcategory: Self-Identification

Episode Character Coded for: Recognition of challenges or limitations inherent to the condition (CLC)

Introduction to every episode

Amy Amy: We have to face obstacles and challenges just to live an ordinary life.

1 Matt Matt: I think that a lot of people look at a little person andthey do not appreciate the challenges that we do have.

1 Jeremy Jeremy: I also think it is important for everybody to knowwhat dwarfs need to go through day after day.

1 Zach Zach: As a little person I am smaller, I cannot run as fast, Iam not as physical, my legs are shorter.

Matt: Because I am a little person I know that I am going to1 Matt have to work harder, faster, stronger, and smarter to get where

I need to go because I am a little person.

4 Matt Matt: When you are a little person obviously mobility is a bigissue.

64

Appendix 2.0 Coded Transcript of Game of Thrones (Excerpt)

Subcategory: Personality Attributes/ Stereotypes

Episode Character Coded for: Mythological creatures (MYC)

1 Arya Arya: Where's the imp? Sansa: Will you shut up?

1 Arya and Cersei Lannister

Arya: Where's the imp?Cersei Lannister: Where is our brother? Go and find the little beast.

1 Ross and Tyrion Lannister

Ros: Mmm, I hear they call him the imp.Tyrion Lannister: I hear he hates that nickname.Ros: Oh? I hear he's more than earned it. I hear he's a drunken little lecher, prone to all manner of perversions.

1 Man Man: Rough night, imp? If I get through this without squirting from one end or the other it'll be a miracle.

3 Catelyn Stark and Petyr Baelish

Petyr Baelish: At least it was... I lost this dagger. Catelyn Stark: To whom?Petyr Baelish: Tyrion Lannister. The Imp.

4Tyrion Lannister

and Theon Greyjoy

Tyrion Lannister: Now here you are, your enemy's squire. Theon Greyjoy: Careful, imp.

5 ManMan: on that Eve, the captive Imp S downwards from his horse did limp S no more would he preen and primp S in garb of red and gold/

65

5 Ross and Theon Greyjoy

Ross: You're not the only nobleman in my life, you know. Theon Greyjoy: Who, the Imp? I'd call him half a nobleman.

5 Lord Stark and Man

Lord Stark: Well?Man: It's about your wife, My Lord. She's taken the Imp.

5 Lysa Lysa: He's Tyrion the imp of house Lannister.

66

Appendix 2.1 Coded Transcript of Game of Thrones (Excerpt)

Subcategory: Personality Attributes/ Stereotypes

Episode Character Coded for: Understimated (UE)

1 Catelyn StarkMan: I'm told he [Tyrion Lannister] drinks all night.Catelyn Stark: How much could he possibly drink? A man of his stature?

1 Ross and Tyrion Lannister

Ros: The Queen has two brothers?Tyrion Lannister: There's the pretty one, and there's the clever one.

67

Appendix 2.2 Coded Transcript of Game of Thrones (Excerpt)

Subcategory: Hegemonic Representations of Dwarfism

Episode Character Coded for: Use of language, derogatory terms (DT)

Tyrion Lannister Man: The prince will remember that, little lord.2

and Man Tyrion Lannister: I hope so. If he forgets, be a good dog and remind him.

2 Tyrion Lannister Tyrion Lannister: And you? What's your story, bastard?and Jon Snow John Snow: Ask me nicely and maybe I'll tell you, dwarf.

2 Tyrion Lannister and Greens

Grenns: What're you looking at, Half Man?Tyrion Lannister: I'm looking at you. Yes. You've got aninteresting face.

2 Tyrion Lannister and Jon Snow

Jon Snow: And they do it so plump little lords like you can enjoy their summer afternoons in peace and comfort. Tyrion Lannister: Do you think I'm plump.

Jaime Lannister Jaime Lannister: Even if the boy lives, he'll be a cripple, a

2 and Tyrion Lannister

grotesque.Tyrion Lannister: Speaking for the grotesques, I'd have to disagree.

Robin Arryn and Robin Arryn: Mommy? Is that the bad man?5

Lysa Lysa: It is.Robin Arryn: He's little.

5 Ser Vardis Ser Vardis: You go sleep, dwarf man. Sleep good, little dwarfman!

68

Appendix 2.3 Coded Transcript of Game of Thrones (Excerpt)

Subcategory: Self-Identification

Episode Character Sample

1 Tyrion LannisterTyrion Lannister: Let me give you some advice, bastard. Never forget what you are. The rest of the world will not. Wear it like an armor and it can never be used to hurt you.

1Tyrion Lannister

and Jon Snow

Jon Snow: What the hell do you know about being a bastard? Tyrion Lannister: All dwarves are bastards in their father's eyes.

2 Tyrion Lannister and Jon Snow

Tyrion Lannister: Look at me and tell me what you see. Jon Snow: Is this a trick?Tyrion Lannister: What you see is a dwarf.

2 Tyrion Lannister and Jon Snow

Tyrion Lannister: Well, my brother has his sword and I have my mind. And a mind needs books like a sword needs a whetstone. That's why I read so much, Jon Snow.

2Tyrion Lannister

and Cersei Lannister

Cersei Lannister: Even if the boy lives, he'll be a cripple, a grotesque. Give me a good clean death any day.Tyrion Lannister: Speaking for the grotesques, I'd have to disagree. Death is so final, whereas life Ah, life is full of possibilities.

4 Tyrion Lannister

Tyrion Lannister: I've offended you. Forgive me, it's been a rough morning. Anyway, don't despair. I'm a constant disappointment to my own father and I've learned to live with it.