'X-2' seems to provide a particularly vivid response to this neo-eugenics by celebrating, instead of demonizing, physical difference. Granted that all humans exhibit many natural mutations, Leroi's argument, Mitchell and Snyder argue, appears inextricably mired in the worst aspects of eugenics and attempts to naturalize an illegitimate definition of difference as flaw, and beauty as flawlessness. Louis, prominent scholars David Mitchell and Susan Snyder will deal critically with Armand Marie Leroi's book Mutants (2003), in which Leroi argues that beauty is an empirical quality quantifiable by the scarcity of visible mutations a given person exhibits.

This is primarily a fantasy-adventure film, but the affirmative representation of genetic anomaly, physical difference, and disability that this movie provides is unprecedented in its color and clarity.Īt the 2004 Society for Disability Studies (SDS) national conference in St. The recent blockbuster from Twentieth-Century Fox, 'X-2', the sequel to the phenomenally popular 'X-Men,' is a film that solidifies the growing legitimacy of disability-related discourse as part of American aesthetic and historical discourse, if for no other reason than that it attracted not only two of the greatest living Royal Shakespeare Company veterans (Patrick Stewart and Ian McKellen) but two of the commonly acknowledged 'most beautiful' supermodels (Halle Berry and Rebecca Romjin-Stamos) to its cast. Magneto, an older mutant, to a young mutant Chemers, Center for Arts in Society, Carnegie Mellon University Produced by Lauren Shuler-Donner, Ralph Winter, and Avi Arad. Written by Daniel Harris, Zak Penn, and Michael Dougherty. 'X-2: X-Men United,' 2003.Twentieth-Century Fox. MUTATIS MUTANDIS: An Emergent Disability Aesthetic in 'X-2: X-Men United'

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