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Knock Me Up, Down: Images of Pregnancy Hollywood Films
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Knock Me Up, Down: Images of Pregnancy Hollywood Films
Current price: $105.00
Barnes and Noble
Knock Me Up, Down: Images of Pregnancy Hollywood Films
Current price: $105.00
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Size: Hardcover
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No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as
Where the Heart Is
(2000),
Riding in Cars with Boys
(2001),
Palindromes
(2004),
Saved!
Quinceañera
(2006),
Children of Men
Knocked Up
(2007),
Juno
Baby Mama
(2008),
Away We Go
(2009),
Precious
The Back-up Plan
(2010),
Due Date
(2010), and
Twilight: Breaking Dawn
(2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.
Where the Heart Is
(2000),
Riding in Cars with Boys
(2001),
Palindromes
(2004),
Saved!
Quinceañera
(2006),
Children of Men
Knocked Up
(2007),
Juno
Baby Mama
(2008),
Away We Go
(2009),
Precious
The Back-up Plan
(2010),
Due Date
(2010), and
Twilight: Breaking Dawn
(2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.
No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as
Where the Heart Is
(2000),
Riding in Cars with Boys
(2001),
Palindromes
(2004),
Saved!
Quinceañera
(2006),
Children of Men
Knocked Up
(2007),
Juno
Baby Mama
(2008),
Away We Go
(2009),
Precious
The Back-up Plan
(2010),
Due Date
(2010), and
Twilight: Breaking Dawn
(2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.
Where the Heart Is
(2000),
Riding in Cars with Boys
(2001),
Palindromes
(2004),
Saved!
Quinceañera
(2006),
Children of Men
Knocked Up
(2007),
Juno
Baby Mama
(2008),
Away We Go
(2009),
Precious
The Back-up Plan
(2010),
Due Date
(2010), and
Twilight: Breaking Dawn
(2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.
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