Abstract

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!_ (2004), _Quinceañera_ (2006), _Children of Men_ (2006), _Knocked Up_ (2007), _Juno_ (2007), _Baby Mama_ (2008), _Away We Go_ (2009), _Precious_ (2009), _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.