Knock Me Up, Knock Me Down : : Images of Pregnancy in Hollywood Films / / Kelly Oliver.
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 reprod...
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| Superior document: | Title is part of eBook package: De Gruyter Columbia University Press eBook-Package Backlist 2000-2013 |
|---|---|
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| Place / Publishing House: | New York, NY : : Columbia University Press, , [2012] ©2012 |
| Year of Publication: | 2012 |
| Language: | English |
| Online Access: | |
| Physical Description: | 1 online resource (248 p.) |
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| 100 | 1 | |a Oliver, Kelly, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 0 | |a Knock Me Up, Knock Me Down : |b Images of Pregnancy in Hollywood Films / |c Kelly Oliver. |
| 264 | 1 | |a New York, NY : |b Columbia University Press, |c [2012] | |
| 264 | 4 | |c ©2012 | |
| 300 | |a 1 online resource (248 p.) | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Acknowledgments -- |t Introduction: From Shameful to Sexy-Pregnant Bellies Exploding Onto the Screen -- |t 1. Academic Feminism Versus Hollywood Feminism: How Modest Maternity Becomes Pregnant Glam -- |t 2. MomCom as RomCom: Pregnancy as a Vehicle for Romance -- |t 3. Accident and Excess: The "Choice" to Have a Baby -- |t 4. Pregnant Horror: Gestating the Other(s) Within -- |t 5. "What's the Worst That Can Happen?" Techno-Pregnancies Versus Real Pregnancies -- |t Conclusion: Twilight Family Values -- |t Notes -- |t Filmography -- |t Texts Cited -- |t Index |
| 506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
| 520 | |a 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. | ||
| 530 | |a Issued also in print. | ||
| 538 | |a Mode of access: Internet via World Wide Web. | ||
| 546 | |a In English. | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022) | |
| 650 | 0 | |a Feminist theory. | |
| 650 | 0 | |a Motion pictures |z United States. | |
| 650 | 0 | |a Pregnancy in motion pictures. | |
| 650 | 7 | |a SOCIAL SCIENCE / Women's Studies. |2 bisacsh | |
| 773 | 0 | 8 | |i Title is part of eBook package: |d De Gruyter |t Columbia University Press eBook-Package Backlist 2000-2013 |z 9783110442472 |
| 776 | 0 | |c print |z 9780231161091 | |
| 856 | 4 | 0 | |u https://doi.org/10.7312/oliv16108 |
| 856 | 4 | 0 | |u https://www.degruyter.com/isbn/9780231530705 |
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