Baby In The Womb Documentary

[Elisa Rathrock]

Writtenproduced, and directed by Toby Mcdonald, the 2005 National Geographic Channel film In the Womb uses the most recent technology to provide an intricate glimpse into the prenatal world. The technologies used, which include advanced photography, computer graphics, and 4-D ultrasound imaging, help to realistically illustrate the process of development and to answer questions about the rarely seen development of a human being. The following description of the images and narrative of the film captures the major points of In the Womb, and of embryonic and fetal development, as they are seen at the outset of the twenty-first century, depicted in only 100 minutes.

In the Womb opens with a glimpse of the mature fetus moments before she is ready to emerge into the outside world. The narrator explains that at this final stage, she is equipped with all of the faculties necessary for full function outside the womb. The main focus of the film, however, is the journey leading up to these final moments, a journey that begins with just a single cell. This journey is viewed intermittently throughout the film using 3-D and 4-D ultrasound scanning techniques which show the baby moving. 4-D refers to a string of 3-D images taken in real time (time is the fourth dimension), thus creating a movie of in utero events. In addition, the process is simulated by computer imaging based on observations, giving a vivid portrayal of embryonic and fetal development.

Three weeks into gestation, In the Womb simulates the embryo folding inward and elongating as the basic body plan is determined. An actual embryo at this stage is shown and a basic spine is visible. The top of the embryo, destined to become the head and brain, is indicated; this region has already begun to generate nerve cells by the fifteenth day of the pregnancy. These nerve cells will proliferate and eventually become the brain and the central nervous system. The heart forms soon after this, and twenty-two days after conception, begins to beat. This movement is initiated by a single heart cell which begins to beat and induces the cells around it to beat to the same rhythm. Close-up filming shows this pulse as heart cells proliferate and the organ continues to form. With the formation of the heart come thin veins and early blood cells responsible for transporting oxygen and nutrients; the blood in these veins moves to the beat of the heart. During the early stages of development the heart beats relatively independently, though its function will later be carefully regulated by the brain.

By the time the embryo is four weeks old, preliminary eyes have appeared on her head. These look like dark spots on a pale landscape of surrounding tissue on which the early contours of the forehead, nose, mouth, and other parts of the mature face can be seen. In addition, arm and leg buds emerge. The narrator mentions that even though thirty days have passed since conception, the embryo is almost indistinguishable from the embryos of other mammals.

By nine weeks, the nervous system has developed dramatically and starts to allow the fetus to move. Although this movement, shown through computer simulation, is not yet connected to the brain, it promotes agility and further growth. After this point, the body will gradually come under the control of the brain. This change also has the effect of regulating heart rate, which may increase to more than 150 beats per minute before cerebral regulation.

In the Womb also notes that, as well as providing a preliminary basis for diagnosis of complications, ultrasound scans also promote the development of parental attachment to the yet-unborn child. Ultrasound is thought to enhance the relationship of the child with the parents, both in infancy and later in life. At twenty-four weeks, this relationship could begin prematurely, for it is at this point that a baby could survive outside of the womb; though still small and underdeveloped, with appropriate intensive care, she could be considered viable. The greatest complications may arise due to the premature lungs, since the lungs only fully develop near the conclusion of the pregnancy and are filled with amniotic fluid until breathing begins.

The Silent Scream is a 1984 anti-abortion film created and narrated by Bernard Nathanson, a former abortion provider who had become an anti-abortion activist. It was produced by Crusade for Life, Inc., an evangelical anti-abortion organization, and has been described as a pro-life propaganda film.[1][2] The film depicts the abortion process via ultrasound and shows an abortion taking place in the uterus. During the abortion process, the fetus is described as appearing to make outcries of pain and discomfort. The video has been a popular tool used by the anti-abortion campaign in arguing against abortion,[3] but it has been criticized as misleading by members of the medical community.[4]

Nathanson credits then-president Ronald Reagan for inspiring him to make The Silent Scream.[5][6] In a speech to the Association of National Religious Broadcasters in January 1984, Reagan stated that a fetus suffers "long and agonizing pain" during an abortion. The American College of Obstetricians and Gynecologists issued a statement in response to the president's comment, saying that the neurological pathways necessary to experience pain do not begin to develop until the third trimester of pregnancy.[7][8] Nathanson agreed with the president and issued a counterstatement. When critics continued to dispute that a fetus feels pain during the first two trimesters of pregnancy, Nathanson decided to make a movie, saying "I mulled it over and thought there's only one way we can resolve this issue, and that's by photographing an abortion, beginning to end."[6]

Nathanson, an anti-abortion (formerly pro-abortion rights) obstetrician, serves as both the medical expert and narrator of the film, describing the events of the abortion as they unfold. He begins by stating the viewer is about to witness the "dazzling" new "science of fetology" and to witness an abortion in real time "from the victim's vantage point."[9] The film compiled a series of still ultrasound images of the abortion of a twelve-week-old fetus (referred to as a child by Nathanson) spliced together to create the video.

Nathanson displays the instruments used in a typical abortion and calmly demonstrates how each instrument is introduced into a woman's body during an abortion. Nathanson states that the head, even at 12 weeks' gestation, will be too large to enter the suction device and shows how forceps are used to crush the skull. He suggests that brain waves have been active for six weeks, though this is disputed by scientists.[10]

A television screen shows ultrasound images of a fetus. As the images of an abortion appear on the screen, Nathanson describes step-by-step what is taking place, pointing out new instruments that are introduced into the uterus. The suction cannula is described as a lethal weapon that will "dismember, crush, and destroy" the child. He narrates that the fetus is unprepared for the invasion of the womb and attempts to escape the cannula, describing it as a "child being torn apart ... by the unfeeling steel instruments of the abortionist."[11] He notes how the fetus's heartbeat speeds up and how it seems to open its mouth in a "chilling silent scream."[11] The film culminates in the now-famous "silent scream" which is accompanied with a shrill musical accompaniment.[9]

The film concludes by discussing the implications behind hiding this material from women. Nathanson states that he believes the film is necessary in keeping women informed on matters concerning abortion. This was the first time the images of an aborted fetus were given an electronic platform, as opposed to the printed form of the imagery used in prior years.[12]

The Silent Scream was viewed by its producer and by the anti-abortion lobby as a tool capable of swaying public opinion against abortion.[4] The film premiered on televangelist Jerry Falwell's program,[12] and aired five times over the span of a month on major television networks.[9] The film was later distributed widely to high schools and colleges and, according to Time magazine, "embraced as an effective propaganda weapon by right-to-life organizations." The film was popular among people who opposed abortion, even being shown at the White House by then-President Ronald Reagan.[13] Reagan said that "if every member of Congress could see that film, they would move quickly to end the tragedy of abortion."[11] The film's producers reportedly planned to send copies to every member of the United States Congress and to the Justice of the Supreme Court of the United States upon its release.[4] Some opponents of abortion stated that the film gave a scientific basis to their position.[12]

Many members of the medical community were critical of the film, describing it as misleading and deceptive. Richard Berkowitz, professor of obstetrics and gynecology at Mount Sinai Medical Center, described the film as "factually misleading and unfair."[4] John Hobbins of the Yale School of Medicine called the film's use of special effects deceptive, a form of "technical flimflam." He pointed out that the film of the ultrasound is initially run at slow speed, but that it is sped up when surgical instruments are introduced to give the impression that "the fetus is thrashing about in alarm." Hobbins questioned the titular "scream", noting that "the fetus spends lots of time with its mouth open," that the "scream" may have been a yawn, and also that "mouth" identified on the blurry ultrasound in the film may in fact have been the space between the fetal chin and chest.[4] Edward Myer, chairman of pediatrics at the University of Virginia stated that, at twelve weeks, the brain is not sufficiently developed for a fetus to be able to feel pain.[8] Similarly, Hart Peterson, chairman of pediatric neurology at the New York Hospital, stated that the "notion that a 12-week-old fetus is in discomfort is erroneous."[8]

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