Reproduction is one of the most persistently generative themes in the history of science and cinema. Cabbage fairies, clones and monstrous creations have fascinated filmmakers and audiences for more than a century. Today we have grown accustomed not only to the once controversial portrayals of sperm, eggs and embryos in biology and medicine, but also to the artificial wombs and dystopian futures of science fiction and fantasy. Yet, while scholars have examined key films and genres, especially in response to the recent cycle of Hollywood ‘mom coms’, the analytic potential of reproduction on film as a larger theme remains largely untapped. This introduction to a special issue aims to consolidate a disparate literature by exploring diverse strands of film studies that are rarely considered in the same frame. It traces the contours of a little-studied history, pauses to consider in greater detail a few particularly instructive examples, and underscores some promising lines of inquiry. Along the way, it introduces the six original articles that constitute Reproduction on Film.

In the mid-twentieth century film studios sent their screenplays to Hollywood's official censorship body, the Production Code Administration (PCA), and to the Catholic Church's Legion of Decency for approval and recommendations for revision. This article examines the negotiations between filmmakers and censorship groups in order to show the stories that censors did, and did not, want told about pregnancy, childbirth and abortion, as well as how studios fought to tell their own stories about human reproduction. I find that censors considered pregnancy to be a state of grace and a holy obligation that was restricted to married women. For censors, human reproduction was not only a private matter, it was also an unpleasant biological process whose entertainment value was questionable. They worried that realistic portrayals of pregnancy and childbirth would scare young women away from pursuing motherhood. In addition, I demonstrate how filmmakers overcame censors’ strict prohibitions against abortion by utilizing ambiguity in their storytelling. Ultimately, I argue that censors believed that pregnancy and childbirth should be celebrated but not seen. But if pregnancy and childbirth were required then censors preferred mythic versions of motherhood instead of what they believed to be the sacred but horrific biological reality of human reproduction.

With Italy’s entry into the Second World War, Anglo-Egyptian authorities repatriated Italian diplomats from Egypt, arrested around 5,000 Italians, and sequestered both personal and business accounts. Italian institutions were indefinitely closed, including the Italian state schools. Hope for a future in Egypt among the roughly 60,000 Italian residents faded. The Salesian missionary schools, whose goal since the late nineteenth century had been to inculcate nationalist-religious sentiment in Italy’s emigrants, remained the only active Italian educational institution by claiming Vatican protection. As such, the missionary schools assumed a central role in the lives of many young Italians. After the war, these same young Italians began to depart Egypt en masse, in part driven by the possibilities opened up by their vocational training. Building on diplomatic, institutional and private archives, this article demonstrates how the Salesian missionary schools attempted and failed to integrate Italian immigrants into the Egyptian labour force through vocational training. This failure combined with socio-economic and geopolitical changes to propel Italian departures from Egypt, making emigrants out of immigrants.

In the nineteenth century, meat production underwent radical changes, turning into a mass-scale and industrial process that was based on the new norms of hygiene and veterinary medicine. Anthropologists and cultural historians have pointed out that, in a western European context, this also entailed the marginalization of the slaughterhouses, which were excluded from urban life and made anonymous and invisible. This article examines the case of the Moscow public abattoir (1886–88) and argues that, instead of being marginalized, it emerged as one of the city's landmarks due to its important symbolic role in the Russian discussions on modernization and ‘Europeanness’.

This essay revisits Chinua Achebe’s exemplary satire of African disillusionment, No Longer at Ease (1960). Published the year of Nigeria’s official independence from Britain, the novel describes how Obi Okonkwo, a civil servant and colonial subject, tries but fails at the threshold of independence to navigate a Nigerian modernity overrun with cultures of bribery, nepotism, and tribalism. Torn between the moral and financial demands of his rural, traditionalist kin and those of the colony’s urban elite, Obi succumbs to corruption, voicing his downfall and Nigeria’s botched independence through a sardonic self-acquittal. A frustrated idealist betrayed by the high promises of anticolonialism, Obi mirrors a lost generation of African writers and intellectuals, figures the novel satirizes for their self-absolving cynicism.

Edward W. Said’s seminal essay “Jane Austen and Empire” exhorts critics to attend to novels’ “historical valances.” Yet advances in British imperial history show that Said underestimated the extent of country houses’ Caribbean and East India Company links. Historians of British imperial history have yet to reflect directly on the implications of these discoveries for the critical legacy of Said’s essay. Informed by twenty years of critical debate, I explain why research into country houses’ colonial connections warrants a definitive modification of Said’s view on Austen. Correspondingly, the article considers the literary legacy of Said’s essay on Austen in three texts: John Agard’s poem “Mansfield Park Revisited” (2006), Jo Baker’s novel Longbourn (2013), and Catherine Johnson’s novel The Curious Tale of the Lady Caraboo (2015). Agard, Baker, and Johnson are heirs of both Austen and Said, whose writings continue to shape postcolonial renderings of the English countryside.

This essay focuses on the liberatory possibilities and political and disciplinary difficulties of bringing together Jewish and postcolonial studies. It begins and ends with Adorno’s critique of “actionism” in order to see what is lost when the clarity and certainty of political action is privileged over scholarly nuance and complexity (“praxis” over “theory”). This loss is surveyed through a set of related binaries (supersessionism, foundationalism, and disciplinarity), which, it is contended, reduces critical thinking to polemic and makes it all but impossible to explore interconnected Jewish and postcolonial histories. The argument is illustrated with reference to postcolonial literature and by examining the disciplining of postcolonial and memory studies in relation to the Holocaust. A way out of the binary impasse, it is suggested, is to utilize as “traveling concepts” transcultural and transnational histories (such as “diaspora” and “ghetto”) that Jewish and postcolonial studies have in common.

This article draws from “big-data” analysis of Netflix’s usage, which suggests that what spectators tend to like about films is inherently generic. Moreover, the process of liking serves as a metaphor, over and above the process of taking pleasure, for the ways in which spectators make texts meaningful rather than deriving meaning from them. The article then discusses some examples of African cultural production in order to focus attention on the category of analysis at stake in theorizing genre—a discussion that helps to distinguish genre’s thematic ontology from its material, formal, and stylistic features. Finally, at the intersection of spectator agency and theme, genre appears to be an “ideological impulse,” a way of relating to and encoding experience that begins with people and that they distribute over texts. This way of understanding genre, the article argues, may help scholars write more productively about the social nature of the concept.

By considering the material processes by which the Horseshoe housing estate in Berlin came into being as aesthetic vision, constructed environment and inhabited living space, this article focuses on the complex manner by which the ideas of planners and architects ‘migrate’ into actual built forms. I evaluate the roles played by emergent technologies and new building methods as well as the managerial directives of state and civic bureaucracies, assessing how co-operative and competing aesthetic visions and the life practices of inhabitants are involved in the coproduction of Weimar public housing.

Tags are widely acknowledged as being an important feature of colloquial British English. In this article, I examine a type of tag that has to date received little attention in the literature beyond sociolinguistic research into its interpersonal functions: right-dislocated lone pronouns, or ProTags. Biber et al. (1999) acknowledge that the demonstrative pronoun that can be used as a right-dislocated tag in conversational British English, but corpus data reveal that other pronouns can also be used as ProTags.

Based on a range of examples, primarily taken from large-scale corpora, I examine the form of the ProTag construction and its functions, comparing it with other tags used in British English, particularly question tags. In common with other tags, ProTags are a classic case of language conveying more than straightforward propositional content. I consider to what extent proposed analyses of the functions of tag questions carry over to ProTags, and briefly whether this construction has been a feature of British English for longer than might at first be assumed.