Deafness,
Identity, and Familial Belonging: A Disability Studies Reading of Sian Heder’s CODA
Dr
Anjana R B
Postdoctoral
Fellow, Institute of Social Sciences and Humanities, Srinivas University,
Mangaluru, 575001, Karnataka, India
Dr
A. Lourdusamy
Research Professor, Institute of Social
Sciences and Humanities, Srinivas University, Mangaluru, 575001, Karnataka,
India
Abstract
This
paper examines Sian Heder’s CODA (2021) through the theoretical frameworks of
Disability Studies and Deaf Studies, arguing that the film redefines deafness
as a cultural identity rather than a personal deficiency. Centering on Ruby
Rossi, the only hearing member of a Deaf family, the narrative explores the
tensions between individual aspiration and familial responsibility. The study
analyzes how the film challenges traditional cinematic portrayals of disability
by foregrounding Deaf agency, sign language, and community life. Drawing upon
the works of Harlan Lane, Raja Kushalnagar, Astha Singh, and Aniva Sukul et
al., the paper demonstrates that CODA resists the pathos-driven representation
of disability common in mainstream cinema. Instead, it presents Deafness as a
lived cultural experience while exposing the communicative and social burdens
placed upon Children of Deaf Adults (CODAs). Through an examination of
language, identity, labor, and belonging, this paper argues that CODA offers a
significant intervention in contemporary disability representation by centering
Deaf perspectives and redefining familial resilience.
Keywords
Keywords:
Deafness; Disability Studies; Deaf Culture; CODA; Sign Language; Identity
Introduction
For
much of cinematic history, deafness has been represented through narratives of
deficiency, tragedy, or miraculous transcendence. Deaf characters were
frequently positioned as objects of pity or as inspirational figures whose
value depended upon their ability to approximate hearing norms. Harlan Lane
argues that dominant constructions of deafness have historically emerged from
hearing institutions that define Deaf people according to medical criteria
rather than cultural experience (Lane 172). Such representations reduce
Deafness to a lack of hearing and obscure the linguistic, social, and communal
dimensions of Deaf identity. Contemporary Deaf Studies challenges this paradigm
by emphasizing Deaf culture, sign language, and collective belonging as fundamental
aspects of Deaf experience.
Sian Heder’s CODA (2021) marks an
important departure from these earlier traditions. The film centers on Ruby
Rossi, a hearing teenager who serves as the primary interpreter for her Deaf
parents and brother while pursuing her dream of becoming a singer. Rather than
depicting the Deaf family as dysfunctional because of deafness, the narrative
presents them as emotionally complex individuals whose lives are shaped by
labor, community, and linguistic intimacy. Astha Singh observes that CODA
foregrounds Deaf culture through the authentic use of American Sign Language
and the casting of Deaf actors, thereby challenging mainstream cinematic
conventions that often marginalize Deaf perspectives (Singh 101). The film’s
significance lies not merely in its representation of disability but in its
refusal to treat Deafness as a problem requiring resolution.
This paper argues that CODA
reconfigures deafness from a medicalized disability into a culturally situated
identity while simultaneously examining the unique positionality of Children of
Deaf Adults. Through Disability Studies and Deaf Studies, the analysis explores
how the film negotiates language, family responsibility, economic survival, and
personal aspiration. The first half of this paper focuses on the theoretical
context of Deaf representation, the cultural politics of Deafness, and the
narrative significance of Ruby’s role as a hearing mediator between Deaf and
hearing worlds.
Literature
Review: Deafness and Disability in Cinema
Scholarly
discussions of Deaf representation have increasingly emphasized the distinction
between disability-centered narratives and culturally informed portrayals of
Deaf life. Lane’s influential critique of hearing-centered constructions of
deafness argues that medical institutions have historically defined Deaf people
as defective hearing subjects rather than members of a linguistic minority
(Lane 173). This perspective profoundly shaped cinematic representation, where
Deaf characters often functioned as symbols of isolation or communication
failure.
Ian Mackenzie and A. Smith describe
deafness as a “neglected and hidden disability,” noting that social exclusion
frequently results from communicative barriers imposed by society rather than
from hearing loss itself (Mackenzie and Smith 566). Raja Kushalnagar similarly
emphasizes that accessibility and communication structures determine whether
deafness becomes disabling in everyday life (Kushalnagar 38). These insights
are particularly relevant to CODA, where the Rossi family’s challenges arise
less from Deafness itself than from institutional systems designed around
hearing norms.
Recent scholarship has identified
CODA as a significant intervention in disability cinema. Astha Singh’s
comparative analysis of Sound of Metal and CODA argues that Heder’s film moves
beyond narratives of loss and rehabilitation by presenting Deaf culture as a
coherent social world with its own values and communicative practices (Singh
102). Aniva Sukul, Atri Majumder, and Gyanabati Khuraijam further contend that
CODA “transgresses the pathos of disability” by refusing to frame Deaf
characters primarily through suffering or victimhood (Sukul, Majumder, and
Khuraijam 4). Instead, the film emphasizes humor, sexuality, labor, and family
conflict, thereby normalizing Deaf existence within mainstream cinema. Kaushik
Bhuyan’s discussion of Children of Deaf Adults highlights the distinctive
burdens placed upon hearing children who frequently become interpreters and
cultural mediators for their families (Bhuyan 194). Ruby’s experiences
exemplify this dynamic, as she navigates adult responsibilities while still
negotiating her own adolescence. Lindsay Casey’s communication-theory analysis
similarly demonstrates that the film constructs communication as a complex
negotiation of language, emotion, and social power rather than a simple
exchange of information (Casey).
Together,
these scholars provide a framework for understanding CODA not merely as a
coming-of-age story but as a cinematic exploration of Deaf identity, linguistic
politics, and familial interdependence.
Theoretical
Framework: Disability Studies and Deaf Studies
This
study adopts an interdisciplinary framework combining Disability Studies and
Deaf Studies. Disability Studies critiques the medical model that locates
disability within individual bodies and instead emphasizes the role of social
structures in producing exclusion. Deaf Studies extends this critique by
foregrounding language, culture, and community. Deafness, from this
perspective, is not simply the absence of hearing but the presence of a
distinct linguistic and cultural identity. Lane’s concept of the “construction
of deafness” is central to this analysis because it demonstrates how hearing
societies define Deaf people according to auditory norms (Lane 175). CODA
repeatedly challenges these norms by depicting sign language as a complete and
expressive mode of communication. The Rossi family’s interactions are rich,
rapid, emotional, and often humorous, contradicting stereotypes that associate
Deaf communication with limitation.
Kushalnagar’s work on accessibility
further illuminates the film’s portrayal of institutional barriers. The family
encounters difficulties not because they lack intelligence or capability but
because economic and legal systems assume hearing participation (Kushalnagar
41). Ruby’s role as interpreter exposes the dependence of these institutions on
spoken language and reveals how accessibility responsibilities are often
transferred onto family members rather than provided by society. By combining
these theoretical perspectives, the paper examines CODA as a text that
simultaneously critiques ableist structures and affirms Deaf cultural identity.
Deafness
as Cultural Identity
One
of the film’s most important achievements is its representation of Deafness as
a cultural identity rather than a personal deficiency. The Rossi family does
not perceive itself as incomplete. Frank, Jackie, and Leo communicate
confidently through American Sign Language, participate in the local fishing
economy, and maintain strong familial bonds. Their lives are not organized
around the pursuit of hearing normalcy.
Singh notes that the film’s use of
Deaf actors significantly enhances the authenticity of these representations
because it allows Deaf embodiment and sign language to occupy the center of the
narrative rather than functioning as secondary details (Singh 103). This
authenticity is especially evident in scenes where the family signs rapidly
among themselves, excluding Ruby not intentionally but through the natural flow
of shared language. Such moments reverse the conventional cinematic hierarchy
in which hearing characters occupy the communicative center.
The film also challenges assumptions
about silence. Hearing audiences often associate silence with absence or
emptiness, yet CODA repeatedly demonstrates that Deaf spaces are full of visual
communication, emotional expression, and social interaction. Casey’s analysis
of the film’s communication dynamics emphasizes that meaning emerges through
gestures, facial expressions, bodily movement, and shared cultural
understanding, not solely through speech (Casey). By foregrounding these visual
modalities, the film destabilizes hearing-centered definitions of language.
Moreover, the Rossi family’s pride
in its Deaf identity reflects Lane’s argument that Deaf communities often
understand themselves as linguistic minorities rather than disabled populations
(Lane 176). Their frustration arises when hearing institutions fail to
accommodate them, not from a desire to become hearing. This distinction is
crucial because it shifts the narrative focus from personal impairment to
social accessibility.
Ruby
Rossi and the Burden of Mediation
Ruby
occupies a unique position as the only hearing member of her family. From
childhood, she has interpreted medical appointments, business negotiations, and
everyday interactions with hearing authorities. Bhuyan argues that many CODAs
experience an early reversal of traditional family roles because they become
linguistic intermediaries for their parents (Bhuyan 194). Ruby’s life
exemplifies this phenomenon.
The film portrays interpretation not
as a neutral task but as emotionally demanding labor. Ruby must translate
intimate conversations, financial concerns, and moments of vulnerability, often
carrying responsibilities that exceed her age. Her family depends upon her
access to hearing institutions, which gives her significant practical authority
while simultaneously restricting her independence. This burden becomes
particularly evident when Ruby begins pursuing music. Singing represents a
deeply personal aspiration, yet it also threatens the family’s existing
communication structure. If Ruby leaves for college, the Rossis will lose their
primary interpreter. The resulting conflict is therefore not simply a
generational disagreement; it reflects the unequal distribution of
accessibility labor within hearing-centered society.
Casey observes that the film
constructs communication as a site of power, with Ruby constantly negotiating
between familial loyalty and individual autonomy (Casey). Her dual identity
produces a sense of in-betweenness: she belongs emotionally to her Deaf family
while participating linguistically in the hearing world. This liminal position
shapes her understanding of both communities. Importantly, the film avoids
portraying the Deaf family as dependent in a simplistic sense. Frank and Jackie
are capable adults whose economic and emotional lives extend beyond Ruby. What
they lack is equitable access to hearing institutions. By emphasizing
structural barriers rather than personal incapacity, the film aligns with
Disability Studies critiques of ableist social organization.
Language,
Music, and Identity
Ruby’s
passion for singing introduces a compelling tension between auditory art and
Deaf familial culture. Music initially appears to separate her from her family
because singing relies upon a sensory modality that they do not experience in
the same way. Yet the film gradually reframes music as another form of
communication rather than a purely auditory achievement.
A
pivotal moment occurs when Ruby performs while the film temporarily shifts into
the perspective of her Deaf family, muting the soundtrack. This cinematic
technique does not diminish the performance; instead, it invites hearing
viewers to reconsider assumptions about musical experience. The focus moves
from sound alone to visual expression, emotional connection, and audience
response. Sukul, Majumder, and Khuraijam argue that such moments challenge the
pathos traditionally associated with disability by refusing to define Deafness
through absence (Sukul, Majumder, and Khuraijam 6).
Ruby’s eventual realization is that
her love for music does not require the rejection of her Deaf identity. Rather,
she can inhabit multiple cultural worlds simultaneously. This reconciliation
rejects assimilationist narratives in which success depends upon abandoning
one’s community. Instead, CODA proposes a model of identity that accommodates
both personal aspiration and familial belonging. The film therefore transforms
what could have been a conventional story of escape into a more nuanced
exploration of interdependence. Ruby’s journey is not toward separation from
Deaf culture but toward a deeper understanding of how her hearing privilege,
artistic ambition, and family loyalty can coexist.
Conclusion
Sian
Heder's CODA represents a significant turning point in the cinematic
representation of deafness by moving beyond conventional narratives of
disability as tragedy, limitation, or heroic perseverance. Instead, the film
situates Deafness within the broader framework of cultural identity, linguistic
diversity, and familial belonging, challenging long-established assumptions
that hearing is the universal norm against which all human experience should be
measured. Through the lived experiences of the Rossi family and Ruby's journey
toward self-discovery, CODA invites audiences to reconsider disability
not as an individual deficiency but as a socially constructed condition shaped
by institutional barriers, communicative inequalities, and cultural
misunderstandings. The film thus aligns closely with the principles of
Disability Studies and Deaf Studies, both of which reject medicalized
understandings of deafness in favor of recognizing Deaf communities as
linguistic and cultural minorities with their own histories, traditions, and
epistemologies.
One of the film's most remarkable
achievements lies in its normalization of Deaf life. Unlike earlier cinematic
portrayals that frequently positioned Deaf characters as passive recipients of
sympathy or as inspirational figures whose worth depended upon overcoming
impairment, CODA presents Frank, Jackie, and Leo Rossi as
multidimensional individuals whose identities extend far beyond their inability
to hear. They are parents, workers, entrepreneurs, spouses, siblings, and
community members whose lives are characterized by humor, affection, conflict,
ambition, and resilience. Their Deafness is neither ignored nor exaggerated;
rather, it exists as one aspect of a rich cultural identity grounded in
American Sign Language and shared communal experiences. In doing so, the film
successfully challenges the deficit-oriented frameworks identified by Harlan
Lane, who argues that hearing societies frequently construct deafness through
ideologies of absence rather than recognizing the presence of an alternative
linguistic and cultural world (Lane).
The film also foregrounds the
centrality of sign language as a complete and sophisticated mode of human
communication. Throughout the narrative, American Sign Language functions not
merely as a practical tool but as the emotional and cultural foundation of
family relationships. Expressions of love, frustration, intimacy, humor,
disappointment, and reconciliation unfold through visual language,
demonstrating that communication cannot be reduced to speech alone. By granting
sign language equal narrative authority, CODA challenges centuries of
linguistic hierarchy that privileged spoken language over signed communication.
The audience is encouraged to participate in a visual mode of storytelling that
recognizes Deaf communication as equally expressive and emotionally complex.
Such representation contributes significantly to contemporary debates within
Deaf Studies by reaffirming the legitimacy of sign languages as complete
linguistic systems rather than auxiliary substitutes for speech.
Ruby Rossi's position as the only
hearing member of her family further complicates conventional understandings of
disability. Rather than depicting her hearing ability as an uncomplicated
privilege, the film reveals the emotional responsibilities that accompany her
role as a Child of Deaf Adults. Ruby serves as interpreter, advocate, mediator,
and bridge between two linguistic communities that operate according to
different communicative expectations. Her experiences illustrate that
accessibility is rarely an individual issue; instead, it is embedded within
broader social structures that either facilitate or obstruct communication. The
burden she carries exposes institutional failures that require family members
to compensate for inadequate systems of accessibility. Consequently, CODA
broadens the discourse surrounding disability by illustrating how hearing and
Deaf experiences are relationally interconnected rather than mutually
exclusive.
Equally important is the film's
treatment of identity formation. Ruby's aspiration to become a singer
symbolizes not a rejection of her family but the difficult process of
negotiating personal autonomy within a deeply interconnected household. The
narrative avoids simplistic oppositions between individual ambition and
familial loyalty. Instead, it demonstrates that identity is continuously shaped
through negotiation, affection, responsibility, and mutual recognition. Ruby's
journey reflects broader questions concerning belonging, illustrating that
cultural identity does not require the abandonment of personal dreams.
Likewise, her family's eventual support for her musical ambitions reflects an
evolving understanding of love grounded not in sacrifice alone but in
reciprocal respect for each other's aspirations.
The film additionally contributes to
ongoing conversations regarding representation in contemporary cinema. The
casting of Deaf actors in principal Deaf roles enhances the authenticity of the
narrative while simultaneously challenging the industry's historical practice
of assigning disabled characters to hearing performers. This decision extends
beyond questions of performance; it reflects a broader ethical commitment to
representation, agency, and cultural ownership. The authenticity achieved
through lived experience enriches the emotional depth of the film and
reinforces the importance of including marginalized communities in the creation
of narratives about their own lives.
From a Disability Studies
perspective, CODA exemplifies the social model of disability by
demonstrating that many obstacles experienced by Deaf individuals arise not
from hearing loss itself but from inaccessible institutions, communication
barriers, and hearing-centered assumptions. The film repeatedly illustrates
that exclusion is produced through environmental and social arrangements rather
than biological difference. When communication is accessible, Deafness ceases
to function as a limitation and instead becomes one expression of human
diversity. This perspective encourages audiences to reconsider disability as an
issue of social justice rather than individual pathology.
Ultimately, CODA succeeds
because it refuses to separate disability from humanity. It neither
sentimentalizes Deafness nor minimizes the genuine challenges associated with
navigating a predominantly hearing world. Instead, it offers a balanced
portrayal in which Deaf identity is understood through language, culture,
family, labor, humor, and resilience. The film encourages viewers to move
beyond sympathy toward understanding, replacing narratives of deficiency with
narratives of dignity and belonging. By centering Deaf voices and visual
language, CODA expands the possibilities of contemporary cinema and
demonstrates that inclusive storytelling enriches both artistic representation
and public understanding. Its enduring significance lies not merely in
depicting Deaf lives but in reshaping how audiences understand communication,
identity, and the many forms through which human connection can flourish.
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