ABSTRACT
This chapter examines the anti-abortion movement to advance discussions about what it means for white men to promote themselves as victims. It examines how the four visual representations of or by CE reveal that opposing abortion is paramount to protecting white men and their supposedly God-given domain. An important context for CE is the men’s movement called the Promise Keepers. A distinguishing feature of most of the attacks on reproductive health care professionals in the name of stopping abortion was antisemitism in the form of Holocaust denial and appropriation. CE’s videos exemplify how conservatives make art that they market as documentary films. Devoted to Christian views, CE uses films to translate that religious perspective into secular frameworks. CE’s campus activities enjoy amicable communication, if not professional collaboration, with law enforcement that seems to privilege the protection of private property over the right of women to express themselves and to be free from unwanted touch.
