Pro-choice – Bitch Flicks

The Stronger ‘Vessel’

Written by Leigh Kolb.

Dear Women on Waves,

I’m not married and am pregnant. I cannot have a baby.

I heard you can drink bleach, but I’m scared it will kill me.

My sister told me about your ship. Can you help me?

– Amina, Morocco

This plea opens Vessel, the documentary about the abortion-rights organization Women on Waves (and Women on Web), led by Dutch doctor Rebecca Gomperts. Women on Waves was launched in 1999, when Gomperts realized that if a Dutch ship sailed to international waters adjacent to countries with abortion restrictions, she could legally help women to have a safe abortion.

Directed by Diana Whitten, Vessel examines how, as Whitten says, “a woman had to leave one realm of sovereignty to reclaim her own.” Gomperts—who has been an artist, Greenpeace activist, doctor, and mother, all roles that inspire her work with Women on Waves—is dynamic on camera. The scenes of her deftly dealing with protesters and pundits show us the power and strength necessary to do the work that she’s doing—providing safe abortions and reproductive education to the women in places least likely to receive those services.

The original aim of Women on Waves was to sail their mobile clinic (contained in a shipping container) to countries where women most needed their services. They would get the women on board, sail 12 miles off-shore, and administer the medical abortion. Their maiden voyage was to Ireland, where they were met with harsh press, angry protesters, and legal setbacks.

When a journalist presses Gomperts and asks if she’s had an abortion, she shoots back:

“It’s a frequent medical procedure. Just because it’s women, because it’s invisible… no one fucking knows. Are you going to ask someone who works with Amnesty International if they’ve been tortured?”

One of the most powerful aspects of the documentary is the inclusion of the actual women’s words (and women in need call and email constantly). Gomperts is right: abortion is frequent and necessary. The fact that it is about women’s autonomy and choice makes it invisible, and in countries where abortion is restricted, this is incredibly dangerous. The words and voices of these women drive the documentary forward.

When they arrive in Poland, Women on Waves is contacted by a desperate young woman. She was raped, and is seven weeks pregnant. “Welcome Nazis,” male protesters scream at them as they dock their ship. This juxtaposition—the desperate woman, the vicious protestors—underscores the larger issues at play in activism surrounding abortion rights. It’s about male control.

The Portuguese government sends warships to stop their ship from sailing into international waters. The masculine image of a warship up against a small, feminine vessel built to liberate women, is dramatic. The ocean—so often symbolizing femininity—is full of possibility, and full of limitations. Through all of the gorgeous shots of the water, it’s hard to not think about Virginia Woolf or Kate Chopin’s The Awakening. The femininity of the water is liberating and stifling, and Gomperts and her amazing crew feel that when faced with each new obstacle. “I’m sure we’ll come up with something,” she says.

“We decided if women couldn’t get to the ship, we could help the women get the pills,” Gomperts says, and she announces on air on a Portuguese talk show exactly how women can self-medicate with just Misoprostol to give themselves abortion. She quickly and aggressively gives the prescription as the host nods and the smug male pundit looks stunned.

Immediately afterward, she announces her pregnancy. “If it’s wanted, it’s delicious,” she says. She stresses that she wants to show that side—that you can be pregnant, a mother, and be supportive of abortion rights. This evolution of her ethos goes hand in hand with the evolution of her activism.

A volunteer says that they get more and more emails from women who want to get the pill. There’s a plea for help from a woman in the US military in Afghanistan. “Every story of the women who write is different,” the volunteer says. “It’s hard to generalize because abortions are so common.”

The power of the Internet gives the women a new wave to ride on. They field emails and calls, and created their sister organization, the website Women on Web. It may be illegal to give women the pills, but giving information on how and when to take the pills isn’t illegal. So education—via trainings and hotlines—became their new voyage.

The power of female solidarity in Vessel is overwhelming. These women seem tireless in their goals of empowering women all over the globe—from educational workshops in Tanzania to draping “Tu Decision” with their phone number on the La Virgin del Panecillo in Quito, Ecuador (my favorite scene).

p1010060.jpg(mediaclass-base-page-main.d2c518cc99acd7f6b176d3cced63a653791dedb3) — “Your Decision,” “Safe Abortion” at the feet of the Virgin at El Panecillo in Ecuador

In 2012, Women on Web responded to more than 100,000 emails from 135 countries requesting information about abortion with pills. They point out that in some countries, abortion may be legal, but not accessible to women. The United States of America is one of those countries.

We are often so focused on changing laws that we don’t realize the power in giving women the right tools and education to empower themselves “despite the laws.” Through their campaigns—across the sea and across the web—Women on Waves and Women on Web do it all, effecting change in legislation and in women’s personal lives.

The documentary is understated and beautiful, and we are left with a sense of hope. The images of women celebrating in spite of men screaming and yelling, and the images of a fearless older woman with bruises on her arms from fighting with police who ransacked their ship remind us what power we truly have.

While the virgin-in-chains turned abortion-activist was my favorite image in the film, the most emotional moment was during an email exchange with a woman from Nairobi. She kisses the pills when she gets them, and a raw, personal email exchange follows as she goes through the process. When it’s over, she requests the name of the volunteer who was emailing her. A Women on Web volunteer responds that they are a collective, working as a team, so she couldn’t give the specific name—a beautiful and poignant reminder of the power of both individual stories and collective support.

“Women will make it happen.”

* * *

Vessel, Diana Whitten’s first feature film, won the Audience Award in the Documentary Competition and the Special Jury Award for Political Courage at South by Southwest.

Vessel will be shown during DOC NYC on Saturday, Nov. 15.

___________________________

Leigh Kolb is a composition, literature, and journalism instructor at a community college in rural Missouri.

Bitch Flicks’ Weekly Picks

Check out what we’ve been reading this week–and let us know what you’ve been reading/writing in the comments!

Remembering Joan Rivers: Groundbreaking Feminist Icon by Eliana Dockterman at TIME

What It Was Like to Work With Joan Rivers by Julie Klausner at Vulture

Mississippi Public Broadcasting Won’t Air Abortion Documentary by Andy Kopsa at Cosmopolitan

The Great 2014 Celebrity Nude Photos Leak is only the beginning by Roxane Gay at The Guardian

Jennifer Lawrence Nude Photo Leak Isn’t A ‘Scandal.’ It’s A Sex Crime. by Scott Mendelson at Forbes

Violence Against Indigenous Women: Fun, Sexy, and No Big Deal on the Big Screen by Elissa Washuto at Racialicious

Black Girls Can Be Losers Too: From ‘Living Single’ to ‘Scandal’ by LaShea Delaney at Indiewire

Hollywood’s Female Heroes Lack One Weapon: Humor. by Zev Chevat at Bitch Media

Supergirl Takes Flight With TV Series From Greg Berlanti & Ali Adler by Nellie Andreeva at Deadline Hollywood

What ‘The Giver’ and ‘Obvious Child’ say about abortion in America by Brandon Ambrosino at Vox

“The Giver” Delivers Powerful Pro-Choice Message in Slick, IKEA Package by Natalie Wilson at Ms. blog

17 Black Women Who Deserve Their Own Biopics by Ashley C. Ford at Buzzfeed

From Now On, Women Save the World by Brooks Barnes at The New York Times

Interview: Harvard Business School Professor Anita Elbers On What Hollywood’s Love of Blockbusters Means for the Rest of Us by Erika Olson at RogerEbert.com

Beyond Ferguson: Pop Culture Through the Lens of Race by Noah Gittell at RogerEbert.com

‘We Have Always Fought’: Challenging the ‘Women, Cattle and Slaves’ Narrative by Kameron Hurley at A Dribble of Ink

What have you been reading/writing this week? Tell us in the comments!

The Most Important Film of 2013: ‘After Tiller’

Though our adversaries might be impermeable to facts and logic, this thing isn’t unwinnable. We just have to use the right strategies to get through to people. If After Tiller can’t change the minds of anti-choice die-hards (and maybe it can! I haven’t asked any!), then it might at least be a mobilization tool for our side to recruit activists from among the undecided.

Written by Max Thornton.

One of the first classes of my master’s degree was called “Religion and Politics in the US,” and one of the assigned texts was Ziad W. Munson’s The Making of Pro-Life Activists: How Social Movement Mobilization Works. Rather to my surprise, I learned that anti-choice activism does not on the whole result from strong anti-choice convictions: in fact, movement involvement often precedes the formation of convictions. People come into contact with the movement at times of major life transition – through new friends at college, say – and begin their activism for primarily social reasons. Beliefs come later. This is not only a good poststructuralist account of subjectivity (holla at Foucault and my homegirl Judith Butler), but it’s also a useful lesson to those of us on the other side. Though our adversaries might be impermeable to facts and logic, this thing isn’t unwinnable. We just have to use the right strategies to get through to people. If After Tiller can’t change the minds of anti-choice die-hards (and maybe it can! I haven’t asked any!), then it might at least be a mobilization tool for our side to recruit activists from among the undecided.

I’m not kidding. I genuinely think After Tiller is the most important film that will be released this year.

Reproductive Justice League!

Directors Martha Shane and Lana Wilson portray the daily lives of four late-term abortion providers, LeRoy Carhart, Warren Hern, Susan Robinson, and Shelley Sella. They chose these doctors because they are the only providers of third-trimester abortions left in the United States. All four were friends and colleagues of Dr. Tiller, and all four clearly derive at least some of their professional motivation from the desire to pay appropriate tribute to the memory of his sacrifice. This is not a film about the anti-choice movement. As the directors state in their press notes:

We decided to represent the anti-abortion movement as it is experienced by the doctors themselves – as a constant presence in the background, whether standing outside their clinics in protest, or lurking in the air as a potential threat – but not as the main story.

This is a film about the individual human beings, the everyday heroes, who provide this essential service, and the daily workings of their clinics. It is their story, a project in which they chose to participate in order to be humanized in the eyes of those who would vilify them as “baby-killers.” I hope some anti-choice hardliners will see the film, because they surely couldn’t ignore the truth about these four doctors:

How good they are, providing a desperately needed service, and treating their patients with oceans of compassion.
How human they are, getting up daily and keeping at their work despite the dangers and psychological toll of the constant threat from anti-choice terrorists, and relying on the love and support of their families to keep them going.
How moral they are, clearly thinking about the issue deeply every day of their lives, and fully aware of the moral burden of being the last resort for pregnant people who don’t want to be pregnant. Even an unyielding anti-choicer would have to admit that these doctors are far from cheery baby-murderers. They all have backgrounds in midwifery or obstetrics. They like babies! They want babies to live and be loved and have wonderful lives! That’s why they provide this service, to spare the babies who wouldn’t live and be loved and have wonderful lives.
How feminist they are, living out their commitment to women’s rights, and trusting pregnant people’s personal moral reasoning. One doctor speaks very movingly of her absolute refusal to morally infantilize pregnant people, of her unwavering faith that anyone seeking a third-trimester abortion will have been through all the ethical legwork necessary to make such a heart-aching decision.

And make no mistake, this film is also the story of the patients. It’s gut-wrenching to hear the testimony of the parents-to-be whose desperately wanted baby is so ridden with fetal abnormalities as to be unviable; of the rape survivor who spent the early months of the pregnancy in traumatized denial; of the sixteen-year-old Catholic who doesn’t think she will ever forgive herself, but feels abortion is the least worst option for her at this time. All the patients have given this decision immense amounts of thought, and they all urgently need this service.

Worryingly, it’s not clear how much longer late-term abortions will be available in the US (and the filmmakers do not omit the fact that medical costs alone are far beyond the means of most people, let alone the price of traveling to either Albuquerque, Boulder, or Germantown, MD). None of these doctors are getting any younger, and there isn’t exactly a clamor to replace them. This is by far the most troubling aspect of the film. All of the doctors speak of formative experiences seeing the terrible impacts of criminalized abortion on both women (who suffer tremendously from DIY abortion attempts) and children (who, unwanted, are sometimes horrendously neglected and abused). Those of us who have only lived in a post-Roe world have not seen this firsthand; we don’t know that world and we don’t have that drive.

This film is a remarkable spur to much-needed action. I feel compelled to speak out to from my own context of mainline Christianity, which is too often evasively silent on the topic of reproductive justice. George Tiller, murdered on a Sunday as he served at his beloved Lutheran church, did not worship the forced-birther God of the anti-choicers, and neither do I.

Go Team Leftist Christians for reproductive justice!

Max Thornton blogs at Gay Christian Geek, tumbles as trans substantial, and is slowly learning to twitter at @RainicornMax. In case you couldn’t tell, he’s strongly pro-choice.

Is ‘Prometheus’ a Feminist Pro-Choice Metaphor?

Noomi Rapace (Dr. Elizabeth Shaw) in Prometheus

Warning: massive spoilers ahead!

A pseudo-prequel to Alien, Prometheus raises existential themes of religion, god, faith, science, creation, mythology and evolution. While these are all worthy topics, I’m much more interested in Prometheus’ treatment of its female characters and its commentary on reproduction. Is director Ridley Scott’s new film a pro-choice metaphor advocating reproductive justice?

I was ridiculously excited to see Prometheus. As I’ve shared before, Lt. Ellen Ripley was my icon growing up…as she was for many of us. And Scott admittedly loves showcasing strong, intelligent female leads.

Here the incredibly skilled Noomi Rapace plays the female protagonist Dr. Elizabeth Shaw, an archaeologist guided by her curiosity and buoyed by her religious faith. She and her colleague/partner Charlie Holloway discover caves with paintings signifying our creators or “Engineers” as they call them. When corporate Weyland Industries (a pre-cursor to Alien’s Weyland-Yutani) funds their expedition, they go in search of the beginning of humanity…with horrifying consequences.

The film is problematic with its weak dialogue and flimsy characters. Aside from Rapace’s Shaw and Idris Elba’s Janek (Stringer Bell cigar-smoking and playing an accordion?? Yes, please!), I seriously couldn’t give two shits who lived and who died, which is particularly annoying since Alien rested on the strength of its nuanced character development. But where the film captivates is in its exploration of reproduction.

Patriarchy perpetuates rape culture and infringes on reproductive rights. Alien centered on rape and men’s fear of female reproduction. Littered with vaginal-looking aliens and phallic xenomorphs violating victims orally, these themes resurface. But this time around, Scott’s latest endeavor also adds abortion and infertility. As ThinkProgress’ Alyssa Rosenberg asserts, Prometheus bolsters the Alien Saga’s themes of “exploration of bodily invasion and specifically women’s bodily autonomy.”

Holloway goes on a diatribe to Shaw about creation and meeting our creators. He says that everyone can create. Shaw responds, “Not me,” shedding tears as she laments her infertility, something rarely depicted on-screen. Their conversation seemed to comment on how society views women as broken and not fulfilling their ultimate purpose unless they give birth.

While Shaw doesn’t give birth, she does become pregnant.

When David the android (Michael Fassbender) obtains some of the mysterious “black goo” from the temple, he poisons Holloway by placing a drop in his drink. After Holloway and Shaw talk about creation and infertility, Shaw has sex with the infected Holloway.

After Holloway dies (torched by a flame-throwing-toting Vickers), David examines Shaw for any infection. He then tells her that she’s pregnant (say what??). She knows this is impossible because of her infertility. Even though she’s stunned by this revelation — because of its improbability and her infertility is a source of pain — Shaw wants it out of her immediately.

But David doesn’t want her to have an abortion, insisting she be put in stasis and trying to restrain her. Like Ash in Alien, it appears David had an agenda to try and keep the creature inside Shaw alive. David tries to thwart Shaw’s agency and bodily autonomy, forcing her to remain pregnant. Hmmm, sounds eerily similar to anti-choice Republicans with their invasive and oppressive legislation restricting abortion. No one has the right to tell someone what to do with their body.

After fighting her way past people, Shaw enters a medpod, a surgical “chamber,” which is only designed for male patients. Now before anyone says that the chamber was intended for secret passenger Weyland (a dude), it still subtly reinforces patriarchy nonetheless. Why couldn’t a medical chamber offer procedures for all genders rather than just defaulting its calibrations to male?

Undeterred, she programs the machine to remove a foreign object. She watches as her stomach is the mechanical arms remove the alien creature and then is stapled up. Hands down this was the most riveting scene (and squeamish…aside from that creepy eye scene), watching a terrified yet steely determined Shaw assert control over her body and her reproduction.

Now, not everyone agrees that Shaw was pregnant or that her procedure should be called an abortion. Some say yes, others argue no, and still others are unsure. Rosenberg asserts it’s not really an abortion as Shaw “isn’t pregnant but rather infected” and the surgery doesn’t result in “the termination of her pregnancy but a premature birth.” But Scott himself calls it a pregnancy.

For those who discount Shaw’s abortion because it’s a foreign object or not a traditional fetus, look at Breaking Dawn. Bella’s vampire/human fetus grew at a rapid rate, made her sick and almost destroyed her body. Yet she chose to keep it. My point is that Shaw could have as well. Instead, she chooses an abortion.

But whatever terminology you use — and I’m in the camp that calls it an abortion — you can’t ignore the abortion metaphor.

Rather than merely succumbing to the trappings of the Mystical Pregnancy Trope, which reduces women to their reproductive organs, we instead see a metaphor for patriarchal constraints trying to strip women of their reproductive rights and bodily autonomy.

Dr. Elizabeth Shaw (actor Noomi Rapace) after having abortion in Prometheus

But before I start jumping up and down that a summer blockbuster features an abortion, there’s a few probs here. The word abortion is never uttered. Nope, not once. Instead, it’s referenced as a “procedure.” When Shaw enters the medpod, she initially attempts to program a caesarean, again not an abortion.

Prometheus also suffers from some problematic gender depictions. While both Prometheus and Alien thrust their female leads into terrifying situations, Shaw and Ripley drastically differ, not only in their personalities and worldviews. But in the way the films treat them.

Alien possessed a strong feminist commentary on sexist patriarchy silencing women’s voices and attempting to objectify and violate their bodies. Unlike Ripley, both Shaw and the icy, seemingly villainous Vickers are sexualized. Both Shaw and Vickers are punished — Vickers by falling into the stereotypical trap of being a cold, selfish shrew and Shaw for her sexuality. Although I’ve got to point out that while Vickers was definitely selfish (not stopping to help a stumbling Shaw when outrunning the crashing ship), I think she made some smart decisions surrounded by an assload of people making idiotic ones. And um, I don’t blame her for not wanting an infected Holloway onboard (which Ripley also tried to do with Kane in Alien). Weyland also makes a sexist statement about inheritance and how David is the closest thing he has to a son, despite his flesh and blood daughter Vickers. It’s as if a daughter is meaningless to him.

Ripley wasn’t defined by her relationship to a man nor did she need a man to survive. But Shaw does…or at least an android taking the form of a man. Yes, she’s a resilient survivor. Although David makes a point to express his surprise at Shaw’s survival, saying he didn’t know she had it in her (ugh, cue bad pun). But aside from her self-induced abortion, Shaw ultimately must rely on others: the squidlike xenomorph extracted during her abortion to save her from a violent Engineer as well as David to escape the planet as he can fly the Engineers’ spacecraft. Although Shaw is the one who determines their course.

Perhaps these gender problems are meant as a commentary on the incessant sexism plaguing today’s society. Or maybe Ripley was such a quintessential feminist film icon that this film pales in comparison.

While it’s not as feminist as it could or should be, The Mary Sue’s Zev Chevat sums up what I liked most about Prometheus:

“Mixing in allusions to birth, the body as battleground, and a female character’s absolute will to regain control belong in this series as much as slimy extraterrestrials. It’s what the Alien films do well, and what Prometheus does best.”

Prometheus is an incredibly flawed film. But when reproductive justice faces a daily barrage of attacks, I have to applaud its efforts to depict its female protagonist not only choosing an abortion, but fighting for her right to exercise autonomy over her body. Especially when so few films and TV series do.