Defining Life: Visual Representations of Life and the Anti-Choice Movement

I've titled this piece specifically in reference to a previous post justifying anti-choice instead of pro-life for the description of abortion right's opponents. The point of the post is to discuss a few interesting manifestations of visual rhetoric in anti-choice arguments that I've recently noticed. The visual tactics of the abortion movement have been documented well by those scholars who have come before me, especially in terms of the photographs and images of aborted and damaged fetuses as resembling born children in appearance and described action (Petchesky, 1987; Lake & Pickering, 1998; Condit, 1990). My first artifact heavily references these visual elements in equating the fetus to a baby. A new service called "3D Babies" allows for parents to upload photographs of their ultrasounds which can then be printed into a doll-like plastic sculpture.

Retrieved from 3D Babies.

These dolls reflect the argumentative tactic of representing life as starting from conception. Due to the physical resemblances of a fetus to an infant, the doll represents a visual argument for the protection of the fetus as one would protect a child. This image is described on the website as a 23-24 week old baby "measuring 8 inches from crown to rump." At 24 weeks, the fetus is nearing the end of the second trimester, so is nearly considered a viable fetus that could survive outside of the womb. Because of this, third trimester abortions are currently illegal in most countries. Consequently, abortions at this stage in the pregnancy comprise less than 1.3% of all abortions. The likelihood of a fetus looking like this doll when aborted is very low. This decision, then, is strategic in that the fetus is as far along as possible without being illegal to abort, thus appearing much like an infant. 91.8% of fetuses are aborted in the first trimester, (or less than 13 weeks) which makes their appearance closer to an embryo, only called a fetus at 12 weeks.

Retrieved from this blog

These visual choices are strategies to associate a fetus with an infant, one of the most (if not the most) vulnerable population on the planet.This is paired with cries to protect those who cannot protect themselves. The power of the visual and the associations that come from it can serve to overpower logic and the verbal by calling upon the aesthetic and the visceral. This is in part the strategy of laws that require ultrasounds before allowing access to abortions. The law provides a visual connection that the woman/mother and fetus/child share. If one sees the ultrasound images, one might be less likely to abort, directly associating the images on the screen with a potential life that cannot be avoided. The efficacy or ethics of this law could surely be debated, but the point I'm making here is the ingrained power of the visual to elicit emotion and its role as an anti-choice strategy. Facing visually one's actions is tantamount to removing agency if it clouds the judgment of agents. The intended purpose of this law is certainly to halt abortions or at least give women pause (or immense guilt). The woman, then, cannot make a personal decision of her own thought without the visual pressures of the potentially aborted fetus. The ultrasound and 3D doll images present that problem: that the fetus is a potential life, baby, and child experienced and seen as true.

The 3D doll can be purchased by whomever might want one, and I would hope that it would not be used as a persuasive tool to encroach upon agency. The larger issue for me is the laws that force the power of visuals on women making important, stressful, and life-changing decisions. Certainly images and narrative hyperbole about well developed fetuses (past the second trimester) being aborted are questionably moral actions. One cannot, however, stop them from being used in public forums, protests, and billboards. Something that should not be allowed, however, are deceptive images and unnecessary invasive practices forced upon women before receiving a potentially life-saving medical procedure.

As an informed public, scholars, and voters, we must all consider the potentially deceptive qualities of visuals and the arguments that they are making. For the ongoing abortion controversy, visuals and they employment are extremely important in helping the anti-choice movement portray women seeking abortions as murderers and masking invasive, sexist laws as protective statues. There are many intriguing documentaries about this issue, specifically as realized in America. I would particularly recommend Unborn in the USA that does directly discuss the visual strategies involved in the debate.