Anne Carruthers is an Associate Lecturer at Newcastle University, UK, where she teaches film studies. She is an experienced script reader, and her research interests lie in phenomenologies, narrative, and close textual analysis.

• IllustrationsAcknowledgementsNotes on TextIntroductionChapter OneChallenging the Pregnancy GenreChapter TwoPhenomenologies and PregnancyChapter ThreeNarrative Negotiations in Juno, Gestation/Gestación and Stephanie DaleyChapter FourInternal Landscapes and Biotourist Narratives in The Milk of Sorrow/La teta asustada, Ain’t Them Bodies Saints and Apio verdeChapter FiveThe Recollection-Object, Breaching the Threshold in Up, The Bad Intentions and BirthChapter SixPregnant Embodiment as mise n’en scène in Arrival and IxcanulConclusionFilmographyReferencesIndex

This is an intellectually muscular approach to pregnancy (deliberately re-presented as “the uterus”), and a highly original conception of the uterus as narrative space. Carruthers deploys phenomenology to focus on the uterus as distinct from motherhood/maternity, and pursues her topic via wide-ranging and impressive research in all the areas of film studies touched upon.

Anne Carruthers is an Associate Lecturer at Newcastle University, UK, where she teaches film studies. She is an experienced script reader, and her research interests lie in phenomenologies, narrative, and close textual analysis.

• IllustrationsAcknowledgementsNotes on TextIntroductionChapter OneChallenging the Pregnancy GenreChapter TwoPhenomenologies and PregnancyChapter ThreeNarrative Negotiations in Juno, Gestation/Gestación and Stephanie DaleyChapter FourInternal Landscapes and Biotourist Narratives in The Milk of Sorrow/La teta asustada, Ain’t Them Bodies Saints and Apio verdeChapter FiveThe Recollection-Object, Breaching the Threshold in Up, The Bad Intentions and BirthChapter SixPregnant Embodiment as mise n’en scène in Arrival and IxcanulConclusionFilmographyReferencesIndex

This is an intellectually muscular approach to pregnancy (deliberately re-presented as “the uterus”), and a highly original conception of the uterus as narrative space. Carruthers deploys phenomenology to focus on the uterus as distinct from motherhood/maternity, and pursues her topic via wide-ranging and impressive research in all the areas of film studies touched upon.

Anne Carruthers is an Associate Lecturer at Newcastle University, UK, where she teaches film studies. She is an experienced script reader, and her research interests lie in phenomenologies, narrative, and close textual analysis.

• IllustrationsAcknowledgementsNotes on TextIntroductionChapter OneChallenging the Pregnancy GenreChapter TwoPhenomenologies and PregnancyChapter ThreeNarrative Negotiations in Juno, Gestation/Gestación and Stephanie DaleyChapter FourInternal Landscapes and Biotourist Narratives in The Milk of Sorrow/La teta asustada, Ain’t Them Bodies Saints and Apio verdeChapter FiveThe Recollection-Object, Breaching the Threshold in Up, The Bad Intentions and BirthChapter SixPregnant Embodiment as mise n’en scène in Arrival and IxcanulConclusionFilmographyReferencesIndex

This is an intellectually muscular approach to pregnancy (deliberately re-presented as “the uterus”), and a highly original conception of the uterus as narrative space. Carruthers deploys phenomenology to focus on the uterus as distinct from motherhood/maternity, and pursues her topic via wide-ranging and impressive research in all the areas of film studies touched upon.