Another March approaches, laden with a plethora of feminist agendas to address. Early this month, on 4th, the world witnessed France becoming another beacon of society again. First with the modern feminism movement and Simone de Beauvoir. Now, as the first country to make abortion a constitutional freedom. This is a significant achievement, as it is an ongoing debate and struggles surrounding reproductive rights globally. Media and cinema shape public perceptions and collective understanding towards abortion, a framework to the world around us. Let’s delve in the depiction of the topic on the big screen throughout the years.
These depictions are rooted in the same branch the taboo of women reflecting the anxieties over decades about it under different tones and genres. From repressed bodies to the contemporary male's fear: women's power and independence.
pioneers: 1910s-1920s
Bust out the popcorn and hop in our time machine, because we're about to take a whirlwind trip through the annals of film history, where abortion themes were as controversial as they come!
Forget everything you thought you knew about the origins of abortion on the silver screen. While "Dirty Dancing" may have set pulses racing in '87, it wasn't the pioneer of abortion portrayal. Nope, that honour goes way back to 1916 with Lois Weber's daring flick, "Where Are My Children?" This celluloid gem tackled the hot-button issues of abortion and birth control with all the subtlety of a sledgehammer.
And hold onto your hats, because the roaring '20s were shaking things up faster than a jazz band on double espresso! Soviet Russia waltzed onto the scene in 1920, giving a big thumbs-up to abortion through medical intervention. Cue Abram Room's "Bed and Sofa" in '27, where abortion was served up with a side of nonchalance. Meanwhile, Eduard Tisse's "Misery and Fortune of Women" in '29 was raising the roof (and eyebrows) with its unabashed advocacy for women's reproductive rights.
But wait, there's more! Take a wild ride through Germany's abortion laws in "The Woman’s Crusade," where three diverse women take centre stage to flip the bird at the legal system. And who could forget Norton S. Parker's "The Road to Ruin"? This late '20s silent film didn't just push the envelope—it catapulted it into the stratosphere with a sensationalized take on juvenile delinquency and the chilling consequences of illegal abortion. Talk about a plot twist!
However, not all was sunshine and roses in the land of early cinema. While these ground-breaking films were lightyears ahead of their time, they couldn't escape the clutches of the male gaze. Yep, the good old' boys' club of the film industry and societal norms had their grubby mitts all over these flicks, potentially skewing their portrayal of abortion and perpetuating some seriously problematic stereotypes.
But hey, every journey has its bumps in the road. And as we rocket forward through time, let's remember to keep the popcorn popping and the reels rolling, because who knows what cinematic surprises lie around the corner!
subversion: 1930s-1940s
Step right up, ladies and gentlemen, and behold the daring escapades of filmmakers as they tiptoed through the minefield of censorship in the heyday of the Hays Code!
Picture this: the glitz and glamour of Hollywood, where the Hays Code reigned supreme like a stern schoolmarm, wagging its finger at anything remotely risqué. But did that stop the mavericks of the silver screen from pushing the boundaries? Not a chance!
In the shadowy corners of Tinseltown, where ambiguity and innuendo danced cheek to cheek, filmmakers wielded their cameras like swords, striking blows against the tyranny of censorship. Take "Men in White" (1934), for example—this sly fox of a film addressed abortion with all the subtlety of a whisper in the night, hinting at the consequences of illegal procedures without ever uttering the forbidden word.
But wait, there's drama on the horizon! In 1934, the Hays Code tightened its stranglehold with the dreaded requirement for a certificate of approval from the Production Code Administration (PCA). Yet, even in the face of such draconian measures, rebels like MGM dared to defy the code's iron grip. "The Doctor and the Girl" (1949) became their rallying cry, igniting fiery debates over the portrayal of abortion on the silver screen.
Meanwhile, across the pond, the battle raged on. In Germany, "Cyanide" (1930) dared to confront abortion head-on, while "Amok" (1934) in France waded into the fray with equal gusto, facing down censorship and controversy like fearless warriors.
But the real heroes of this tale? None other than the unsung champions of exploitation cinema! In the murky depths of this underworld, cautionary tales masqueraded as educational works, slipping past the censors' watchful gaze with all the stealth of a cat burglar in the night. "Street Corner" (1948) stands as a shining example, weaving a cautionary tale of a high school girl's brush with death from an illegal abortion, all wrapped up in a neat package of sexual hygiene—taboo-busting at its finest!
And let's not forget the trailblazing Ida Lupino, a veritable Joan of Arc in the world of cinema. Inspired by the fearless pioneers who came before her, Lupino fearlessly tackled taboo topics with films like "Not Wanted" (1949), shining a spotlight on the plight of a young woman facing an unplanned pregnancy and the heart-wrenching journey towards adoption. Lupino's films weren't just movies—they were rallying cries for empathy and understanding in a world blinded by prejudice.
So, dear audience, as we bid adieu to the tumultuous era of the 1930s and 1940s, let us raise our glasses to the brave souls who dared to defy the status quo, leaving an indelible mark on the cinematic history!
Late 1940s and 1950s: Rebellion
Ah, the late 1940s, a time of rebellion and defiance against the suffocating grip of censorship! Films like "The Doctor and the Girl" and "Beyond the Forest" emerged as daring champions, their veiled references to abortion serving as a clarion call to challenge the oppressive status quo. Meanwhile, in William Wyler’s "Detective Story" (1951), abortion took centre stage, sending shockwaves through the corridors of power as Breen, the head of the Production Code Administration, sought to tighten the noose of censorship. But Wyler and his ilk were having none of it, defiantly advocating for more authentic portrayals of society's underbelly.
Across the Atlantic, in the land of baguettes and berets, France, where abortion lurked in the shadows of illegality, films like "People of No Importance" and "Les mauvaises rencontres" (1955) dared to shine a spotlight on the grim consequences of clandestine terminations. As the late 1950s bled into the early 1960s, a seismic shift rocked the foundations of censorship with the Hays Code crumbling under the weight of societal upheaval. And in 1968, the Code met its demise, paving the way for the birth of the ratings system.
But what fuelled this tidal wave of change? Some say it was the swelling chorus of feminist ideals echoing across the globe, their amplitude reverberating through the corridors of power and shaking the very foundations of patriarchal oppression. Films like "Blue Denim" (1959) dared to tackle taboo subjects like abortion with unbridled boldness, reflecting the shifting sands of societal attitudes and heralding a new era of cinematic freedom.
Ah, the winds of change are blowing, my friends, and the echo of feminist ideals rings loud and clear as we march boldly into the uncharted territory of cinematic revolution!
1960s-1970s: Evolutionary
Ah, the swinging sixties and the groovy seventies, decades of cinematic evolution and exploration! In the 1960s, international cinema took a deep dive into the swirling waters of abortion, exploring its many facets and implications. British films like "Saturday Night and Sunday Morning" (1960) and "Alfie" (1966) delved into the private spheres of their characters, weaving abortion into the tapestry of social concerns with finesse and flair. Meanwhile, Japanese filmmakers Nagisa Ōshima and Shōhei Imamura waltzed into the fray, using abortion as a lens to examine larger political issues, painting a vivid portrait of post-war Japan.
Over in the land of stars and stripes, exploitation films like "The Shame of Patty Smith" (1962) boldly tackled abortion head-on, shedding light on the struggles faced by women seeking the procedure. As societal attitudes began to shift, challenges to abortion laws emerged, sending shockwaves through the cultural landscape. British gems like "Pumpkin Eater" (1964) and German-Swiss collaborations like "Wages of Sin" (1966) danced on the razor's edge, exploring abortion with nuance and depth, mirroring the changing attitudes towards reproductive rights.
Then came the landmark Supreme Court ruling in Griswold v. Connecticut (1965), a beacon of hope in the tumultuous sea of the birth control debate. Films like "In the Heat of the Night" (1967) and "Daddy's Gone A-Hunting" (1969) continued to intertwine abortion with other political issues, thrusting it into the spotlight of public discourse.
But the party didn't stop there! In the 1970s, filmmakers continued to push the boundaries of storytelling, infusing abortion narratives with newfound empathy and complexity. Stephanie Rothman's "The Student Nurses" (1970) offered a poignant glimpse into the lives of women grappling with abortion, while Claudia Weill's "Girlfriends" (1978) took a refreshingly matter-of-fact approach, shattering clichés with every frame.
Horror films like "10 Rillington Place" (1971) and "What Have You Done to Solange?" (1972) sent shivers down our spines as abortion became a chilling plot device, while Ken Loach's "Family Life" (1971) delved deep into the psychological toll of termination, laying bare the societal and familial pressures faced by women.
But fear not, for even in the darkest of times, laughter echoed through the halls of cinema! Comedic interpretations of abortion emerged in films like "Making It" (1971) and "To Find a Man" (1971), reflecting a relaxed attitude towards the topic. And who could forget the musical extravaganzas of "Cabaret" (1972) and "One Sings, the Other Doesn’t" (1977), where abortion was served up with a side of wit and political commentary, tantalizing our senses and challenging our perceptions.
As abortion became more commonplace on the silver screen, it ceased to be just a political statement and transformed into a narrative element, a reflection of the evolving societal landscape. And amidst it all, Agnès Varda's "One Sings, the Other Doesn’t" (1977) stood tall as a pro-abortion musical, fearlessly championing feminist issues and reproductive rights, its melody echoing through the corridors of time, a testament to the indomitable spirit of cinematic exploration. Ah, what a time to be alive!
1980s-1990s: Multifaceted
In the wild and wonderful world of cinema, the 1980s and 1990s brought forth a kaleidoscope of perspectives on abortion, challenging norms and sparking debate.
John Waters, that irrepressible icon of provocation, injected abortion themes into his 1981 masterpiece "Polyester," a bold reflection of the social tensions surrounding the issue. The film bravely portrays the hurdles faced by women seeking abortions, from encountering anti-abortion protestors outside clinics to navigating the complexities of personal choice in a judgmental society.
Meanwhile, in Amy Heckerling's 1982 gem "Fast Times at Ridgemont High," abortion takes center stage with a nonchalant depiction that defies expectations. A teenage character undergoes the procedure without it dominating the film's focus, offering a rare glimpse into the entire pregnancy-abortion sequence with refreshing authenticity.
Even the hallowed halls of historical romance weren't immune to the winds of change. "Heat and Dust" (1983) waltzed onto the scene, presenting abortion decisions without moral judgment. The film delicately portrayed abortion as a deeply personal choice with profound emotional consequences, a reflection of evolving societal attitudes.
As documentaries like "It Happens to Us" (1972) and "Whose Choice?" (1976) challenged traditional cinematic narratives, the release of "The Silent Scream" (1984) marked a seismic shift, galvanizing the anti-abortion movement with its graphic depiction of the procedure.
But fear not, for narrative cinema continued to push boundaries and ignite conversation.
"Dirty Dancing" (1987) bravely tackled illegal abortion with raw realism, amidst legal changes like Roe v. Wade. The film's gripping subplot underscored the ongoing relevance of abortion rights, sparking vital discussions about the erosion of legal protections.
As the millennium approached, films like "Dogma" (1999) and "The Cider House Rules" (1999) carried the torch, delving deeper into abortion themes with unwavering courage. These cinematic gems reflected a seismic shift in attitudes, shining a spotlight on the continued relevance and complexity of abortion in society. Oh, what a time to be alive, where cinema danced to the beat of its own drum, challenging conventions and reshaping the cultural landscape!
Millenium (2000s-2010s): Complex
Between the dawn of the new millennium and the present day, the silver screen has witnessed a surge in films daring to tackle the complex topic of abortion. IMDb boasts a staggering 419 films tagged with the keyword "abortion," with an additional 589 short films and videos, signaling a seismic shift where abortion has become not just a taboo subject but a standard narrative device in cinema.
Internationally, filmmakers like Jafar Panahi have shed light on the harrowing challenges faced by women seeking abortions in countries where the procedure is illegal or heavily restricted. Panahi's "The Circle" (2000) illuminates the protagonist's desperate struggle to obtain an abortion in Iran, navigating a labyrinth of strict laws and societal taboos that threaten her very existence.
In John Singleton's "Baby Boy" (2001), the protagonist's response to his girlfriend's abortion reflects the shifting sands of cultural norms surrounding reproductive rights and the shared responsibility between partners. The film delicately explores themes of maturity and emotional care in the aftermath of such a profound decision.
Mike Leigh's haunting masterpiece "Vera Drake" (2004) transports viewers to 1950s England, where a compassionate abortionist risks arrest and imprisonment to provide crucial services to women in need. Through Leigh's lens, we witness the dire consequences faced by both those seeking abortions and those brave enough to provide them in a restrictive legal environment.
Meanwhile, Cristian Mungiu's Palme d’Or-winning "4 Months, 3 Weeks and 2 Days" (2007) offers a gut-wrenching portrayal of two friends navigating the treacherous waters of illegal abortion in 1980s Romania, under the oppressive regime of Nicolae Ceaușescu's ban on reproductive rights.
Documentaries like "After Tiller" (2013) and "Vessel" (2020) provide invaluable insights into contemporary abortion issues, spotlighting the tireless efforts of doctors and organizations striving to provide safe and accessible abortion care despite formidable legal and social barriers.
Gillian Robespierre's "Obvious Child" (2014) takes a bold and refreshing approach, framing abortion within the confines of a romantic comedy narrative. The film fearlessly portrays abortion as a normal and valid choice for its protagonist, challenging stigma and celebrating the agency of women in making decisions that shape their lives.
From Iran to England, Romania to the United States, these films stand as powerful testaments to the enduring struggle for reproductive rights and the indomitable spirit of those who dare to defy the status quo.
Late 2010s and early 2020s: revolution
The landscape of media addressing abortion has undergone a notable evolution in recent years, with both anti-abortion and progressive perspectives finding expression across various forms of media. While anti-abortion media may have become more niche, occasional releases like "Unplanned" (2019) still manage to capture public attention, albeit with controversy swirling around their accuracy and distribution.
Conversely, a renaissance of films addressing abortion progressively has emerged, contributing to the destigmatization of the procedure. Works such as "Portrait of a Lady on Fire" (2019), documentaries chronicling the Chicago Jane Collective, "Saint Frances" (2019), "Never Rarely Sometimes Always" (2020), "Happening" (2021), and "Lingui, The Sacred Bonds" (2021) provide nuanced perspectives on abortion and its societal implications.
These films arrive at a critical juncture as abortion rights face challenges in the United States, particularly with the overturning of Roe v. Wade and subsequent legislative actions in many states. Despite these challenges, public opinion largely supports the legality of abortion in most cases, as reflected in the themes and narratives of recent films.
While anti-abortion advocates rely on certain images and beliefs to support their cause, progressive films offer compelling portrayals of the real-life impact of abortion on individuals and society. These films contribute to ongoing conversations about reproductive rights and highlight the importance of understanding diverse perspectives on this complex issue.
In these movies, the reasons women seek abortions vary widely. Some portray well-off women seeking abortions for convenience, while others depict individuals facing dire circumstances and seeking abortions as a means of empowerment or necessity. The portrayal of abortion is approached with caution or restraint, often with minimal direct references or dialogue about the procedure. However, as narratives evolve, there's a trend toward more focused exploration of one's pursuit of the procedure, though detailed depictions of the abortion process itself remain relatively rare.
It's empowering to see abortion depicted as a normal part of many women's lives on screen, helping to normalize discussions around reproductive health. However, it's important to recognize the limitations and inaccuracies in these portrayals, whether due to the lack of diversity in representation or the oversimplification of emotions associated with terminating a pregnancy. The demand for diversity should not lead to tokenistic or exploitative representations, particularly when it comes to depicting Black abortion stories on screen or any other minority group. I hope this everchanging media shapes people's ideas and legalise this not-crime, it's a body and their owner choice. Women are not made to be mothers, they are individuals too!
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