Abortion in Film and Television: History, Evolution, and Modern Depictions
The Historical Roots of Abortion in Cinema (1916 and the Silent Era)
Abortion has been a subject in film for over a century, appearing as early as .
The film Where am I children, released in , serves as a primary historical example. It was based on the trial of Margaret Sanger, the founder of Planned Parenthood.
The narrative of Where am I children follows a lawyer who is prosecuting an illegal abortion provider. During the trial, he discovers that his own wife has undergone multiple abortions, which resulted in her becoming infertile.
The film presented complex and controversial ideological arguments:
It promoted a eugenic and racist viewpoint suggesting that birth control is a necessity for certain populations.
Conversely, it framed wealthy women who chose abortion as inherently selfish.
Early cinematic depictions like this functioned as cautionary tales, characterizing the procedure as a traumatic, life-upending event that typically led to negative consequences for the characters.
The Haze Code and Institutional Self-Censorship (1930–1968)
The Haze Code was established in as a formal system of self-censorship for the film industry.
The code dictated that movies must be "wholesome" and "moral" in their content.
Specific mandates regarding abortion under the Haze Code included:
If a character underwent an abortion, they were required to meet an unhappy ending.
Character outcomes following an abortion typically involved death, abandonment, or the character ultimately deciding against the procedure to maintain "moral" standing.
The Haze Code remained in effect for nearly four decades until it officially ended in , which allowed for a more diverse and nuanced exploration of reproductive health in media.
Shonda Rhimes and the Normalization of Abortion on Television
Creator Shonda Rhimes is credited as a significant catalyst for changing how abortion is portrayed on network television.
Her commitment to incorporating abortion into diverse storylines has provided a template for subsequent writers and content creators:
Grey's Anatomy: This series has featured several distinct plot lines centered on abortion.
Private Practice: The character Addison was depicted as a healthcare provider making decisions about the provision of abortion and discussing why performing the procedure was personally and professionally important to her.
Scandal: This program was the first, and then the second, television show to actually depict a full abortion procedure on-screen.
Netflix Productions: In Shonda Rhimes' work for Netflix, a character like Richardson attempted a self-managed abortion during the first season of an unspecified project.
Contemporary Case Study: Saint Francis (Alex Thompson and Kelly O'Sullivan)
The film Saint Francis aims to subvert traditional tropes of trauma and regret associated with cinematic abortions.
The movie follows a nanny and contrasts her daily routine of caring for a child with her personal decision to terminate her own pregnancy.
Core goals and themes of the film include:
Showing a "Normal" Abortion: Creating a depiction that is not surrounded by traumatic outside events or excessive hand-wringing.
Emotional Realism: Portraying the feeling of relief that many people experience, rather than just doubt and regret.
Directness of Decision: Highlighting that a person can know immediately that it is "not the right time" to have a child without needing a "monolithic exploration of doubt."
Physical Realities: The film depicts the physical reality of the process, including the presence of blood, to move away from the "scarring" back-room abortion scenes typically found in older European cinema.
Political Barriers and the Road Trip Genre: Unpregnant (Rachel Lee Goldberg)
Unpregnant () is a comedy directed by Rachel Lee Goldberg that focuses on a -year-old girl and her ex-best friend traveling from Missouri to New Mexico.
The comedic tone is purposefully utilized to critique the legal and logistical barriers to healthcare:
The humor is derived from the absurdity of the long-distance journey required to access a basic medical procedure.
It frames the abortion not as a "sad thing," but as an essential aspect of the character's life.
The film has gained additional context due to shifting legal landscapes in the United States following the strike-down of Roe v. Wade:
In Missouri, abortions are now only permitted in the event of a medical emergency.
Missouri law currently offers no exceptions for rape or incest.
New Mexico remains a destination state where abortion is legal and accessible for those traveling from restricted states.
The Cultural Impact of Dirty Dancing
Dirty Dancing is cited as a pivotal abortion story in American film because the entire plot is propelled by the need for an abortion.
The narrative focuses on a community support network rather than just the individual procedure:
Friends mobilize to help the character Penny pay for the abortion.
The characters coordinate to cover her shifts at work.
The film shows the group working together to keep her safe after the procedure turns out to be dangerous due to its illegal and unsafe nature.
The Future of Reproductive Storytelling and Demystification
Filmmakers are increasingly focused on "demystifying" the physical and medical process of abortion to remove fear for the audience:
There is a push to show medication abortions specifically, as many people are unaware that non-surgical options exist.
Accurate media representation includes the specific steps of the process, such as placing pills in the cheek to let them dissolve, the possibility of getting sick, and the recovery process.
The current political climate demands more specific, diverse stories from artists and media professionals.
The anticipated "next stage" of storytelling involves filmmakers sharing personal or "burning" stories to light a fire under public opinion and ensure that those who have had abortions feel seen.
Questions & Discussion
Interviewer/Narrator: How will a new reality in America begin to make its way onto screens following the Supreme Court decision to strike down Row?
Kelly O'Sullivan (Saint Francis): When I went through the actual process I felt relieved. I found the process to be, well complicated, actually pretty simple. I really wanted to show a normal abortion that isn't surrounded by traumatic events and that doesn't involve a lot of hand-wringing and doubt and regret. I feel like in most TV and film we've seen the woman really spend a lot of time questioning her decision. I wanted to show the other version which is: oh I'm pregnant, I'm not going to have this baby.
Rachel Lee Goldberg (Unpregnant): I shouldn't be here. I should be able to just walk down the street and open a door and waltz right in and say "Hello, my name is Veronica… here's my ". This idea of this not having to be a sad thing and it can just be something that's essential and something that happens is really important and is a perspective that's real.
Filmmaker Insights on Medication Abortion: People might not know exactly what an abortion might entail for them. We wanted to show the process of putting the pills in your cheek and letting them dissolve and then you might get sick and the recovery process so that people can feel seen by it who've had abortions before and that people who might want to seek abortions in the future don't feel scared.