Ramón Sampedro, a former seaman and later poet, died in 1998. Now having passed the twentieth anniversary of his death, his work and life return to the spotlight with the attendant issues of disability, trauma, agency and end-of-life. The film Mar Adentro or, The Sea Inside (Amenábar, 2004), provides a lens with which to view some familial and cultural resonances of disability trauma. This paper critiques the ideological underpinnings of the film, suggesting that the film is haunted by ableist notions of the body. Garland-Thomson’s notion of the misfit (2011) is employed to illustrate how the central character is portrayed as a borderline figure between life and death. Kristeva’s abjection theory is used to illustrate how the beach is used as a borderline which demarcates the hero’s subject/abject position. This paper hypothesises that the use of the beach as metaphor and the use of Galicia as a ‘haunted’ space, encourages the audience to understand persons with disabilities as ‘neither here nor there’; rather, as ‘not quite human beings’.

中文翻译：

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Mar Adentro：困扰能力，男子气概和人权

拉蒙·桑佩德罗（RamónSampedro）是前水手，后来是诗人，于1998年去世。如今，他已过了20周年诞辰，他的工作和生活再次引起人们的关注，伴随而来的是残疾，创伤，代理和寿命终止等问题。电影Mar Adentro或The Sea Inside（阿梅纳巴，2004年）提供了一个镜头，可以用来观看残疾创伤的一些家庭和文化共鸣。本文对电影的思想基础进行了批判，表明该电影被身体的能力主义者观念所困扰。Garland-Thomson的“失配”概念（2011年）用于说明如何将中心人物描绘成生与死之间的界限。克里斯蒂娃（Kristeva）的逃避理论被用来说明海滩是如何被用来作为划定英雄的主体/被攻击者位置的边界的。本文假设使用海滩作为隐喻，使用加利西亚作为“闹鬼”的空间，鼓励观众将残疾人理解为“不在这里也不在那里”；而是“不完全是人类”。