Hating the Crime, Forgiving the Criminal: October Baby, Christian Post-Feminism, and the Co-Optation of 'Choice'
Open Access
- Author:
- Bedor, Emma Celeste
- Graduate Program:
- Media Studies
- Degree:
- Master of Arts
- Document Type:
- Master Thesis
- Date of Defense:
- April 01, 2013
- Committee Members:
- Michelle Rodino Colocino, Thesis Advisor/Co-Advisor
- Keywords:
- Abortion
Film
Christianity
Post-Feminism
October Baby
The Silent Scream
Thematic Analysis
Paratexts
Christian Right - Abstract:
- Traditional anti-abortion rhetoric is thought to be antithetical, even explicitly hostile, to feminist values. Post-feminist anti-abortion films, however, take many of feminism’s triumphs in stride, particularly the notion that women are capable of agentive decision-making when it comes to their reproductive choices. This is nowhere as clearly illustrated than in a 2011 movie, October Baby. By purporting to relate the “truth-based” story of an abortion survivor, this film illustrates the ways that a post-feminist cultural context permits anti-abortion religious rhetoric to be highly marketable and lucrative. I situate an analysis of the film and the changing nature of anti-abortion discourse by providing historical context on the abortion issue, feminist gains during the twentieth century, and importantly, a discussion of the role of ultrasound imaging technology that has played a significant role in constructing notions of fetal personhood. In this way, I compare October Baby and its paratexts to another hugely successful, much earlier anti-abortion film, The Silent Scream, which foregrounded scientific and medical appeals. Conversely, October Baby backgrounds medicine and science and instead highlights religious and moral elements. Perhaps most importantly, October Baby engages in a euphemistic reframing of what “choice” entails, shifting discussions from women’s agency and control over their bodies to lesser choices associated with “post-abortive healing.” This is a process that I term “sidelining.” In fact, the film explicitly equates abortion with criminal activity through the integration of religious rhetoric. Ultimately, October Baby’s profitability is testament to the success of this political and activist strategy.