Paralympic and Para sport representation has provided an important cultural site from which to explore the role of popular disability media in shaping everyday disability knowledge(s) through relations of power, ideology and meaning. Yet limited attention has been afforded to the affective dimensions of Para sport media that may help extend our understanding of its performative power on audiences. In critique of the recent Netflix Paralympic documentary film, ‘Rising Phoenix’, this article affords particular attention to the production of disability affects through the cinematic entanglement of things, bodies and language that work to involve audiences on an affective, emotional and sensorial level. Drawing on Sara Ahmed's (2004) cultural politics of emotion, it is argued that the film produces an economy of disability affects that contribute to the qualitative affective qualities of the film yet operate to (re-)configure sites of disabled normativity, gendered disability relations and nourish ‘supercrip’ and ‘medico-tragedy’ disability narratives. Attention is paid to the implications of this and the role of sport documentary film more widely in generating affective modes of representation for marginalised sporting groups.

残奥会和残奥会代表提供了一个重要的文化场所，从中可以通过权力、意识形态和意义的关系探索流行的残疾媒体在塑造日常残疾知识方面的作用。然而，人们对残疾人运动媒体的情感维度的关注有限，这可能有助于扩展我们对其对观众的表演能力的理解。在批评最近的 Netflix 残奥会纪录片“凤凰崛起”时，本文特别关注残疾影响的制作通过事物、身体和语言的电影纠缠，在情感、情感和感官层面上让观众参与进来。借鉴萨拉·艾哈迈德 (Sara Ahmed) (2004) 的情感文化政治，有人认为，这部电影产生了一种残疾影响经济，有助于提高电影的定性情感品质，但又可以（重新）配置残疾人规范性、性别残疾关系的场所并滋养“supercrip”和“医疗悲剧”的残疾叙事。关注这一点的影响以及更广泛的体育纪录片在为边缘化体育群体产生情感表征模式方面的作用。