Difference between revisions of "Do Androids Dream of Electric Speech"

Latest revision as of 00:14, 20 April 2014

Do Androids Dream of Electric Speech? The Construction of Cochlear Implant Identity on American Television and the “New Deaf Cyborg”

This paper was kindly submitted by Pamela Kincheloe of RIT.

“Cyborgs already walk among us.” (“Cures to Come” 76).

This essay was begun as a reaction to a Hallmark Hall of Fame movie called Sweet Nothing in My Ear, which aired in April of 2008. Briefly, the film follows two parents, Dan, who is hearing (played by Jeff Daniels), and Laura, who is deaf (Marlee Matlin), as they struggle to make a decision about whether or not to give their 11-year-old son, Adam (late-deafened), a cochlear implant. Each parent represents one side of the argument – one, the deaf perspective, one the hearing perspective. The show did manage to present both sides, if in a somewhat simplistic manner – but more accurately than most shows before it.

One of the central scenes in the film is comprised of what I have started to call the “activation scene”, and it is quite common to cochlear implant narratives. In the scene, the protagonists witness a child having his implant activated, or turned on. It is depicted in a way quite reminiscent of the WATER scene in the film about Helen Keller, The Miracle Worker, in that, like that film, it employs a very sentimental visual rhetoric. First, the two parents are shown seated near the child, clasping their hands as if in prayer. The audiologist, wielder of technology and therefore clearly the authority figure in the scene, types away furiously on her laptop. At the moment of being “turned on,” the child suddenly “hears” his father calling “David! David!” He then gazes angelically toward heaven as piano music plays plaintively in the background. The parents all but fall to their knees, and the protagonist of the film, Dan, watching through a window, weeps. It is a scene of cure, of healing, of “miracle,” a hyper-sentimentalised portrait of what is in reality often a rather anticlimactic event (at least it was anticlimactic in my son, Michael’s case). I was taken aback by how this scene was presented, and dismayed overall at some of the inaccuracies in the portrayal of cochlear implants in this film (small though they were) – it was, after all, according to the Nielsen ratings, seen by 8 million people. I began to wonder what kinds of misconceptions my son was going to face when he met people whose only exposure to implants consisted of media representations of it. Spurred by this question, I started to research other, recent portrayals of people with implants on U.S. television in the past ten years, to see how cochlear implant identity is currently portrayed by American media (hereafter, for the sake of brevity, I will use the abbreviation “CI” for “cochlear implant”).

Deaf people have, for most of American history, been portrayed in print and visual media as an exotic “other,” and have long been the subject of an almost morbid cultural fascination. Christopher Krentz suggests that, at least in the nineteenth century, scenes pairing sentimentality and deafness (such as the example given above) in fact repressed an innate, Kristevan “abject” horror or revulsion toward deaf people. Those who are deaf, (and indeed anyone who is deemed “other,”) seem to have served to highlight and define the “unmarked” body, or the historical construction of what a so-called “normal,” “whole” body is. In recent years, however, the figure of the “deaf as Other” in media appears to have shifted from what might be termed “traditionally” deaf characters to what Brenda Jo Brueggeman, in her recent book deaf subjects: between identities and places, calls “the new deaf cyborg,” or the deaf person with a cochlear implant (4). N. Katharine Hayles states that cyborgs are now “the stage on which are performed contestations about the body boundaries that have often marked class, ethnic, and cultural differences” (85). In this essay, I claim that the character with a CI, as it is portrayed in media, is now not only a strange, “marked” “Other,” but is also a screen upon which viewers project anxieties about technology, demonstrating both a fascination with and a fear of it. In her book, Brueggeman issues a call to action, saying that Deaf Studies must now begin to examine what she calls “implanting rhetorics,” or “the rhetorical relationships between our technologies and our identity” and therefore needs to attend to the construction of “the new deaf cyborg” (18). This short study will serve, I hope, as both a response to that injunction and as a jumping-off point for more in-depth studies of the construction of the CI identity and the implications of these constructions.

First, a very brief technical description of what a cochlear implant is: the National Association of the Deaf in the United States defines the cochlear implant as a device used “to help the user perceive sound, i.e., the sensation of sound that is transmitted past the damaged cochlea to the brain. In this strictly sensorineural manner, the implant works: the sensation of sound is delivered to the brain. The stated goal of the implant is for it to function as a tool to enable deaf children to develop language based on spoken communication” (“NAD Position”). The external portion of the implant consists of the following parts: a microphone, which picks up sound from the environment. This is contained in the behind-the-ear device that resembles the standard BTE hearing aid. In this “hearing aid” there is also a speech processor, which selects and arranges sounds picked up by the microphone. The processor transmits signals to the transmitter/receiver, which then converts them into electric impulses. Part of the transmitter sits on the skin, and attaches to the inner portion of the transmitter by means of a magnet. The inner portion of the receiver/stimulator sends the impulses down into the electrode array that lies inside the cochlea, which in turn stimulates the auditory nerve, giving the brain the impression of sound (“Cochlear Implants”). According to manufacturer’s statistics, there are now approximately 188,000 people worldwide who have obtained cochlear implants, though the number of these that are in use is not known (Nussbaum).

That is what a cochlear implant is. Now, before we can look at how people with implants are portrayed in the media, before we examine constructions of identity, perhaps we should first ask what exactly comprises a “real” CI identity? This is, of course, laughable; pinning down a homogeneous CI identity is not any more likely than coming up with a blanket definition of what construes a “deaf identity.” For example, at this point in time, there isn’t even a word or term in American culture for someone with an implant – I struggle with how to phrase it in this essay – “implantee..” “recipient…” there are no neat labels – in the U.S., you can call a person deaf, Deaf (the “D” representing a specific cultural and political identity), hearing impaired, hard of hearing – and each gradation implies, for better or worse, some kind of subject position. There are no such terms for a person who gets an implant. Are people with implants, as suggested above, just deaf? Deaf? Are they hard of hearing? There is even debate in the ASL community as to what sign should be used to indicate “someone who has a cochlear implant.”

If a “CI identity” cannot be located, then perhaps the rhetoric that is used to describe it may be. Paddy Ladd, in Understanding Deaf Culture, does a brilliant job of exploring the various discourses that have surrounded deaf culture throughout history. Stuart Blume borrows heavily from Ladd in his “The Rhetoric and Counter-Rhetoric of a “Bionic” Technology,” where he points out that an “essential and deliberate feature” of the history of the CI from the 60s onward, was that it was constructed in an overwhelmingly positive light by the mass media, using what Ladd calls the “medical” rhetorical model. That is, that the CI is a kind of medical miracle that promised to cure deafness. Within this model one may find also the sentimental, “missionary” rhetoric that Krentz discusses - what Ladd claims is a revival of the evangelism of the nineteenth-century Oralist movement in America.

Indeed, newspaper articles in the 1980s and 90s hailed the implant as a “breakthrough,” a “miracle”; even a quick survey of headlines shows evidence of this: “Upton Boy can hear at last!” “Girl with a New Song in her Heart,” “Children Head Queue for Bionic Ears,” (Lane). As recently as January, 2010, an issue of National Geographic featured on its cover the headline Merging Man and Machine: The Bionic Age. Sure enough, the second photograph in the story is of a child’s bilateral cochlear implant, with the caption “within months of the surgery (the child) spoke the words his hearing parents longed for: Mama and Dada.” “You’re looking at a real bionic kid,” says Johns Hopkins University surgeon John Niparko, proudly (37).

To counter this medical/corporate rhetoric of cure, Ladd and Blume claim, the deaf community devised a counter-rhetoric – a discourse in which the CI is not cast in the language of miracle and life, but instead in terms of death, mutilation, and cultural oppression. Here, the implant is depicted as the last in a long line of sadistic experiments using the deaf as guinea pigs. Often the CI is framed in the language of Nazism and genocide as seen in the title of an article in the British Deaf News: “Cochlear Implants: Oralism’s Final Solution.”

So - which of these two “implanting rhetorics” is most visible in the current construction of the CI in American television? Is the CI identity presented by rendering people with CIs impossibly positive, happy characters? Is it delineated using the metaphors of the sentimental, of cure, of miracle? Or is the CI identity constructed using the counter-rhetorical references to death, oppression and cultural genocide? One might hypothesize that television, like other media, cultivating as it does the values of the hearing hegemony, would err on the side of promulgating the medicalised, positivist rhetoric of the “cure” for deafness. In an effort to find out, I conducted a general survey of American television shows from 2000 to now that featured characters with CIs. I did not include news shows or documentaries in my survey.

Interestingly, some of the earliest television portrayals of CIs appeared in that bastion of American sentimentality – the daytime soap opera. In 2006, on the show “The Young and the Restless,” a “troubled college student who contracted meningitis” received an implant, and in 2007 “All My Children” aired a story arc about a “toddler who becomes deaf after a car crash.” It is interesting to note that both characters were portrayed as “late-deafened,” or suddenly inflicted with the loss of a sense they previously possessed, thus avoiding any whiff of controversy about early implantation.

But one expects a hyper-sentimentalised portrayal of just about everything in daytime dramas like this. What is interesting is that when people with CIs have appeared on several “reality” programs, which purport to offer “real,” unadulterated glimpses into people’s lives, the rhetoric is no less sentimentalized than the soaps (perhaps because these shows are no less fabricated). A good example of this is the widely watched and, I think, ironically named show “True Life” which appears on MTV. This is a series that claims to tell the “remarkable real-life stories of young people and the unusual subcultures they inhabit.” In episode 42, “ True Life: I’m Deaf,” part of the show follows a young man, Chris, born deaf and proud of it (his words), who decides to get a cochlear implant because he wants to be involved in the hearing world. Through an interpreter Chris explains that he wants an implant so he can communicate with his friends, talk with girls, and ultimately fulfill his dreams of having a job and getting married (one has to ask: are these things he can’t do without an implant?) The show’s promo asks “how do you go from living a life in total silence to fully understanding the spoken language?” This statement alone contains two elements common to the “miracle” rhetoric – first that the “tragic” deaf victim will emerge from a completely lonely, silent place (not true; most deaf people have some residual hearing –and – if you watch the show you see Chris signing – “speaking” voluminously) to seamlessly, miraculously - “fully” joining and understanding the hearing world. Chris, it seems, will only come into full being when he is able to join the hearing world. In this case, the CI will cure what ails him. According to “True Life.”

Aside from “soap opera” drama and so-called reality programming, by far the largest dissemination of media constructions of the CI in the past ten years occurred on top-slot prime-time television shows, which consist primarily of the immensely popular genre of the medical and police procedural drama. Most of these shows have at one time or another had a “deaf” episode, in which there is a deaf character or characters involved, but between 2005 and 2008, it is interesting to note that most, if not all of the most popular of these have aired episodes devoted to the CI controversy, or have featured deaf characters with CIs. The shows include: CSI (both Miami and New York), Cold Case, Law and Order (both SVU and Criminal Intent), Scrubs, Gideon’s Crossing, and Bones. Below is a snippet of dialogue from Bones:

• Zach: {Holding a necklace} He was wearing this.
• Angela: Catholic boy.
• Brennan: One by two forceps.
• Angela {as Brennan pulls a small disc out from behind the victim’s ear} What is that?
• Brennan: Cochlear implant. Looks like the birds were trying to get it.
• Angela: That would set a boy apart from the others, being deaf.
• Bones “A Boy in the Tree” (1.3 2005)

In this scene, the forensics experts are able to describe significant points of this victim’s identity using the only two solid artifacts left in the remains, a crucifix and a cochlear implant. I cite this scene because it serves, I believe, as a neat metaphor for how these shows, and indeed television media in general, are, like the investigators, constantly engaged in the business of cobbling together identity: in this particular case, a cochlear implant identity. It also shows how an audience can cultivate or interpret these kinds of identity constructions – here, the implant as an object serves as a tangible sign of deafness, and from this sign, or clue, the “audience” (represented by the spectator, Angela) immediately infers that the victim was lonely and isolated, “set apart from the others.” Such wrongheaded inferences, frivolous as they may seem coming from the realm of popular culture, have, I believe, a profound influence on the perceptions of larger society. The use of the CI in Bones is quite interesting, because although at the beginning of the show the implant is a key piece of evidence, that which marks and identifies the dead/deaf body, the character’s CI identity proves almost completely irrelevant to the unfolding of the murder-mystery. The only times the CI character’s deafness is emphasized are when an effort is made to prove that the he committed suicide - (i.e., if you’re deaf you are therefore “isolated,” and therefore you must be miserable enough to kill yourself). Zak, one of the forensics officers says, “I didn’t talk to anyone in high school and I didn’t kill myself” and another officer comments that the boy was “alienated by culture, by language, and by his handicap” (odd statements, since most deaf children with or without implants have remarkably good language ability). Also, in another strange moment, the victim’s ambassador/mother shows name a video clip of the child’s CI activation and says “…a person who lived through this miracle would never take his own life” (emphasis mine). A girlfriend, implicated in the murder (the boy is killed because he threatened to “talk” – revealing a blackmail scheme), says “people didn’t notice him because of the way he talked but I liked him…” So at least in this show, both types of “implanting rhetoric” are employed; a person with a CI, though the recipient of a “miracle,” is also perceived as “isolated” and “alienated” and unfortunately, ends up dead.

This kind of rather negative portrayal of a person with a CI also appears in the CSI: New York episode ”Silent Night” which aired in 2006. One of two plot lines features Marlee Matlin as the mother of a deaf family. At the beginning of the episode, after feeling some strange vibrations, Matlin’s character, Gina, checks on her little granddaughter, Elizabeth, who is crying hysterically in her crib. She finds her daughter, Alison, dead on the floor. In the course of the show, it is found that a former boyfriend, Cole, may be the father of the infant and was trying to kidnap the baby when there was a struggle and he shot Alison. Apparently Cole “got his hearing back” with a cochlear implant, no longer considers himself Deaf, and wants the child so that she isn’t raised “Deaf.” At the end of the show, Cole tries to abduct both grandmother and baby at gunpoint. As he has lost his external transmitter, he is unable to understand what the police are trying to tell him and threatens to kill his hostages. He is arrested in the end. In this case, the CI recipient is depicted as a violent, out of control figure, calmed (in this case) only by Matlin’s presence and her ability to communicate with him in ASL. The implication is that in getting the CI Cole is “killing off” his Deaf identity, and as a result, is mentally unstable. Talking to Matlin, whose character is a stand-in for Deaf culture, is the only way to bring him back to his senses.

The October, 2007 episode of CSI: Miami entitled “Inside-Out” is another example of the counter-rhetoric at work in the form of another implant corpse. A police officer, trying to prevent the escape of a criminal en route to prison, thinks he has accidentally shot an innocent bystander, a deaf woman. An exchange between the coroner and a CSI goes as follows:

• (Alexx Woods): “This is as innocent as a victim gets”
• (Calleigh Duquesne): “How so?”
• AW: Check this out.”
• CD “I don’t understand. Her head is magnetized? Steel plate?”
• AW: “It’s a cochlear implant. Helps deaf people to receive and process speech and sounds”
• (CSI dramatization) AW VO: “It’s surgically implanted into the inner ear. Consists of a receiver that decodes and transmits to an electrode array sending a signal to the brain”
• CD: “Wouldn’t there be an external component?”
• AW: “Oh, she must have lost it before she was shot.”
• CD: “Well, that explains why she didn’t get out of there. She had no idea what was going on.” (TWIZ)

Based on the evidence, the “sign” of the implant, the investigators are able to identify the victim as deaf, and they infer therefore that she is innocent. It is only at the end of the program that we learn that the deaf “innocent” was really the girlfriend of the criminal, and was on the scene aiding in his escape. So she is at first “as innocent” as they come, and then at the end, she is the most insidious of the criminals in the episode. The writers at least provide a nice twist on the more common deaf-innocent stereotype.

Cold Case showcased a CI in the 2008 episode “Andy in C Minor,” in which the case of a 17-year-old deaf boy is reopened. The boy, Andy, had disappeared from his high school. In the investigation it is revealed that his hearing girlfriend, Emma, convinced him to get an implant – because it would help him play the piano, which he wanted to do in order to bond with her. His parents, deaf, were against the idea, and had him promise to break up with Emma and never bring up the CI again. His body is found on the campus, with a cochlear device next to his remains. Apparently Emma had convinced him to get the implant and, in the end, Andy’s father had reluctantly consented to the surgery. It is finally revealed that his Deaf best friend, Carlos, killed him with a blow to the back of the head while he was playing the piano, because he was “afraid to be alone.” This show uses the counter-rhetoric of Deaf genocide in an interesting way. In this case it is not just the CI device alone that renders the CI character symbolically “dead” to his Deaf identity, but it leads directly to his being literally executed by, or in a sense, excommunicated from, Deaf Culture, as it is represented by the character of Carlos. The “House Divided” episode of House (2009) provides the most problematic (or I should say absurd) representation of the CI process and of a CI identity. In the show, a fourteen-year-old deaf wrestler comes into the hospital after experiencing terrible head pain and hearing “imaginary explosions.” Doctors Foreman and Thirteen dutifully serve as representatives of both sides of the “implant debate”: when discussing why House hasn’t mocked the patient for not having a CI, Thirteen says “The patient doesn’t have a CI because he’s comfortable with who he is. That’s admirable.” Foreman says, “He’s deaf. It’s not an identity, it’s a disability.” 13: “It’s also a culture.” F: “Anything I can simulate with $3 earplugs isn’t a culture.” Later, House, talking to himself, thinks “he’s going to go through life deaf. He has no idea what he’s missing.” So, as usual, without permission, he orders Chase to implant a CI in the patient while he is under anesthesia for another procedure (a brain biopsy). After the surgery the team asks House why he did it and he responds, “Why would I give someone their hearing? Ask God the same question you’d get the same answer.” The shows writers endow House’s character, as they usually do, with the stereotypical “God complex” of the medical establishment, but in doing also they play beautifully into the Ladd and Blume’s rhetoric of medical miracle and cure.

Immediately after the implant (which the hospital just happened to have on hand) the incision has – miraculously—healed overnight. Chase (who just happens to be a skilled CI surgeon and audiologist) activates the external processor (normally a months-long process). The sound is overwhelming –the boy hears everything. The mother is upset. “Once my son is stable,” the mom says, “I want that THING out of his head.” The patient also demands that the “thing” be removed. Right after this scene, House puts a Bluetooth in his ear so he can talk to himself without people thinking he’s crazy (an interesting reference to how we all are becoming cyborgs, more and more “implanted” with technology). Later, mother and son have the usual touching sentimental scene, where she speaks his name – he hears her voice for the first time and says, “Is that my name? S-E-T-H?” Mom cries. Seth’s deaf girlfriend later tells him she wishes she could get a CI – “It’s a great thing. It will open up a whole new world for you,” an idea he rejects. He hears his girlfriend vocalize, and asks Thirteen if he “sounds like that.” This for some reason clinches his decision about not wanting his CI and, rather than simply take off the external magnet, he rips the entire device right out of his head, which sends him into shock and system failure. Ultimately the team solves the mystery of the boy’s initial ailment and diagnoses him with sarcoidosis. In a final scene, the mother tells her son that she is having them replace the implant. She says it’s “my call.”

This show, with its confusing use of both the sentimental and the counter rhetoric, as well as its outrageous inaccuracies, is the most egregious example of how the CI is currently being constructed on television, but it, along with my other examples, clearly shows the Ladd/Blume rhetoric and counter rhetoric at work. The CI character is on one hand portrayed as an innocent, infantilized, tragic, or passive figure that is the recipient of a medical miracle kindly urged upon them (or forced upon them, as in the case of House). On the other hand, the CI character is depicted in the language of the counter-rhetoric: as deeply flawed -- crazed, disturbed or damaged somehow by the incursions onto their Deaf identity, or, in the worst case scenario, they are dead – exterminated. Granted, it is the very premise of the forensic/crime drama to have a victim, and a dead victim, and it is the nature of the police drama to have a “bad,” criminal character; there is nothing wrong with having both good and bad CI characters, but my question is, in the end, why is it an either-or proposition? Why is CI identity only being portrayed in essentialist terms on these types of shows? Why are there no realistic portrayals of people with CIs (and for that matter, deaf people) as the richly varied individuals that they are? These questions aside, if these two types of “implanting rhetoric”, the sentimentalised and the terminated – are all we have at the moment -- what does it mean? As I mentioned early in this essay, deaf people, along with many “others,” have long helped to highlight and define the hegemonic “norm.” The apparent cultural need for a Foucauldian “marked body” explains not only the popularity of crime dramas, but it also could explain the oddly proliferant use of characters with cochlear implants in these particular shows. A person with an implant on the side of their head is definitely a more “marked” body than the deaf person with no hearing aid. The CI character is more controversial, more shocking; it’s trendier, “sexier”, and this boosts ratings. But CI characters are, unlike their deaf predecessors, now serving an additional cultural function. I believe they are, as I claim in the beginning of this essay, screens upon which our culture is now projecting repressed anxieties about emergent technology. The two essentialist rhetorics of the cochlear implant – the rhetoric of the sentimental, medical model, and the rhetoric of genocide -- ultimately represent our technophilia and our technophobia. The CI character embodies what Debra Shaw terms a current, “ontological insecurity that attends the interface between the human body and the datasphere” (85). We are growing more nervous “as new technologies shape our experiences, they blur the lines between the corporeal and incorporeal, between physical space and virtual space” (Selfe). Technology either threatens the integrity of the self, “the coherence of the body” (we are either dead or damaged) or technology allows us to transcend the limitations of the body – we are converted, “transformed” –the recipient of a happy modern miracle.

In the end, I found that representations of CI on television (in the United States) are overwhelmingly sentimental and therefore essentialist. It seems that the conflicting nineteenth century tendency of attraction and revulsion toward the deaf is still, in the twenty-first century, evident. We are still mired in the rhetoric of “cure” and “control,” despite an active Deaf counter discourse that employs the language of the holocaust, warning of the extermination of yet another cultural minority. We are also daily becoming daily more “embedded in cybernetic systems,” with our laptops, emails, GPSs, PDAs, cell phones, Bluetooths, etc. We are becoming increasingly engaged in a “necessary relationship with machines” (Shaw 91). We are gradually becoming no longer “other” to the machine, and so our culturally constructed perceptions of ourselves are being threatened. In the nineteenth century, divisions and hierarchies between a white male majority and the “other” (women, African Americans, immigrants, Native Americans) began to blur. Now, the divisions between human and machine, as represented by a person with a CI, are starting to blur, creating anxiety. Perhaps this anxiety is why we are trying to, at least in the media, symbolically either “cure” the marked body or kill off the cyborg. Future examinations of the discourse should, I believe, use these media constructions as a lens through which to continue to examine and illuminate the complex subject position of the CI identity, and therefore, perhaps, also explore what the subject position of the post/human identity will be.

Works Cited

"A Boy in a Tree." Patrick Norris (Dir.) Hart Hanson (By) Emily Deschanel (Perf.) Bones Fox Network, 7 September 2005.

“Andy in C Minor.” Jeannete Szwarc (Dir.) Gavin Harris (By) Kathryn Morris (Perf.) Cold Case CBS Network, 30 March 2008.

Blume, Stuart. “The Rhetoric and Counter Rhetoric of a “Bionic” Technology.” Science, Technology and Human Values. 22.1(1997): 31-56.

Brueggemann, Brenda Jo. deaf subjects: between identities and places. New York: New York UP, 2009.

“Cochlear Implant Statistics.” ASL-Cochlear Implant Community. Blog. Citing Laurent Le Clerc National Deaf Education Center Gallaudet University 18 March 2008 <http://aslci.blogspot.com/2008/03/cochlear-implant-statistics.html> 29 April 2010.

“Cures to Come.” Discover Presents The Brain. Spring 2010. 76.

Fischman, Josh. “Bionics.” National Geographic Magazine 217 (2010).

“House Divided.” Greg Yaitanes (Dir.) Matthew V. Lewis (By) Hugh Laurie (Perf.) House. Fox Network. 22 April 2009.

“Inside-Out.” Gina Lamar (Dir.) Anthony Zuiker (By) David Caruso (Perf.) CSI: Miami. CBS Network 8 October 2007.

Krentz, Christopher. Writing Deafness: The Hearing Line in Nineteenth-Century American Literature. Chapel Hill: UNC P, 2007.

Ladd, Paddy. Understanding Deaf Culture : In Search of Deafhood. Clevedon, Great Britain: Multilingual Matters Limited, 2002.

Lane, Harlan. A Journey Into the Deaf-World. San Diego: DawnSignPress, 1996.

“NAD Position Statement on the Cochlear Implant” National Association of the Deaf Website. 6 October 2000. < http://www.nad.org/issues/technology/assistive-listening/cochlear-implants> 29 April 2010.

Nussbaum, Debra. “Manufacturer Information.” Cochlear Implant Information Center. National Deaf Education Center Website, Gallaudet University http://clerccenter.gallaudet.edu 29 April 2010.

Shaw, Debra. Technoculture: The Key Concepts. Oxford: Berg, 2008.

“Silent Night.” Rob Bailey (Dir.) Anthony Zuiker (By) Gary Sinise (Perf.) CSI: New York CBS Network, 13 December 2006.

“Sweet Nothing in My Ear.” Joseph Sargent (Dir.) Stephen Sachs (By) Jeff Daniels (Perf.) Hallmark Hall of Fame Production 20 April 2008.

TWIZ TV scripts. CSI: Miami “Inside-Out”

“What is the Surgery Like?” FAQ University of Miami Cochlear Implant Center <http://cochlearimplants.med.miami.edu/faq/index.asp> 29 April 2010.